https://www.institute193.org/exhibitions-martha-clippinger-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548715292320-XRZR7ZOG1D5LOB5IIMOK/Martha+Clippinger+%285%29.jpg Exhibitions: Martha Clippinger KY - Martha Clippinger, Not yet titled, 2017, acrylic on wood, 14 x 14 x 1 inches Martha Clippinger Two Sides/Dos Lados June 29 – August 11, 2018 Institute 193, Lexington Martha Clippinger (b. Columbus, GA, 1983) makes objects that blur defined borders between painting and sculpture, art and craft, questioning the necessity of such distinctions. Her current work exists in two separate but related modes; modestly-sized brightly painted three-dimensional wall works, and large, bold, patterned ‘tapetes’, or rugs, woven from Clippinger’s gouache drawings. Fittingly, she shares a hometown and draws inspiration from two figures who operate similarly: Eddie Owens Martin and Alma Thomas. Both artists are known for working in saturated color, meticulous pattern, and for creating work that supersedes those same boundaries. At first glance, Clippinger’s work fits neatly within a lineage of artists working in abstraction within the last century. Her found-object assemblages bear no small resemblance to work by Betty Parsons (1900–1982), perhaps better known as a legendary gallerist and advocate for abstract expressionists before the movement was well-received critically. The ‘tapetes’ can be seen as related to weavings by artist and textile designer Sophie Taeuber-Arp (1889–1943) who also challenged arbitrary divisions between art and craft and championed the use of materials and techniques that had not been used in fine art contexts previously. These artists, of course, are understood as figures situated firmly within the Western art canon and the movements they helped to establish. As is often the case, in the process of their historicization, the non-western aesthetic practices from which they frequently drew inspiration were often forgotten or ignored. Clippinger’s work, however, is remarkably cognizant of the universal context from which it arises. This is especially true for the tapetes. Abstract graphic adornment of objects, frequently utilitarian ones, is a phenomenon that exists across most of human history and in nearly all cultures; the decorated ‘parfleches’ made by indigenous Americans, abstract tantric paintings from Rajasthan, Australian aboriginal sand painting, and quilts from Gee’s Bend, Alabama, are just a few examples. Clippinger began painting the gouache studies for the tapetes while living in Oaxaca, Mexico. In the weaving village of Teotitlan del Valle, she met a family of rug weavers and approached them about translating her drawings into the tapetes. Since 2014, she has worked with Licha Gonzalez Ruiz and Agustín Contreras Lopez to create the woven works. The process is collaborative, and authorship is shared; rather than asking the couple to alter their wool dyeing process to accurately match her colors, Clippinger uses the gouache drawings as a jumping off point, frequently developing new palettes in response to the colors at hand. In this body of work especially, the divisions that have been put in place to keep art and craft separate are rendered moot, and the impetus for the establishment of those divisions is laid bare. Frequently the distinction between what constitutes art and craft is determined along lines of gender, race, class, and geography. The work of artists is differentially privileged, legitimized, and valued according to these hierarchies. Clippinger, in recognizing this and making work that actively flattens some of those differences, does important work in undoing the structures that maintain such a system and does so with levity, humor, and brightness. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548715292320-XRZR7ZOG1D5LOB5IIMOK/Martha+Clippinger+%285%29.jpg Exhibitions: Martha Clippinger KY - Martha Clippinger, Not yet titled, 2017, acrylic on wood, 14 x 14 x 1 inches Martha Clippinger Two Sides/Dos Lados June 29 – August 11, 2018 Institute 193, Lexington Martha Clippinger (b. Columbus, GA, 1983) makes objects that blur defined borders between painting and sculpture, art and craft, questioning the necessity of such distinctions. Her current work exists in two separate but related modes; modestly-sized brightly painted three-dimensional wall works, and large, bold, patterned ‘tapetes’, or rugs, woven from Clippinger’s gouache drawings. Fittingly, she shares a hometown and draws inspiration from two figures who operate similarly: Eddie Owens Martin and Alma Thomas. Both artists are known for working in saturated color, meticulous pattern, and for creating work that supersedes those same boundaries. At first glance, Clippinger’s work fits neatly within a lineage of artists working in abstraction within the last century. Her found-object assemblages bear no small resemblance to work by Betty Parsons (1900–1982), perhaps better known as a legendary gallerist and advocate for abstract expressionists before the movement was well-received critically. The ‘tapetes’ can be seen as related to weavings by artist and textile designer Sophie Taeuber-Arp (1889–1943) who also challenged arbitrary divisions between art and craft and championed the use of materials and techniques that had not been used in fine art contexts previously. These artists, of course, are understood as figures situated firmly within the Western art canon and the movements they helped to establish. As is often the case, in the process of their historicization, the non-western aesthetic practices from which they frequently drew inspiration were often forgotten or ignored. Clippinger’s work, however, is remarkably cognizant of the universal context from which it arises. This is especially true for the tapetes. Abstract graphic adornment of objects, frequently utilitarian ones, is a phenomenon that exists across most of human history and in nearly all cultures; the decorated ‘parfleches’ made by indigenous Americans, abstract tantric paintings from Rajasthan, Australian aboriginal sand painting, and quilts from Gee’s Bend, Alabama, are just a few examples. Clippinger began painting the gouache studies for the tapetes while living in Oaxaca, Mexico. In the weaving village of Teotitlan del Valle, she met a family of rug weavers and approached them about translating her drawings into the tapetes. Since 2014, she has worked with Licha Gonzalez Ruiz and Agustín Contreras Lopez to create the woven works. The process is collaborative, and authorship is shared; rather than asking the couple to alter their wool dyeing process to accurately match her colors, Clippinger uses the gouache drawings as a jumping off point, frequently developing new palettes in response to the colors at hand. In this body of work especially, the divisions that have been put in place to keep art and craft separate are rendered moot, and the impetus for the establishment of those divisions is laid bare. Frequently the distinction between what constitutes art and craft is determined along lines of gender, race, class, and geography. The work of artists is differentially privileged, legitimized, and valued according to these hierarchies. Clippinger, in recognizing this and making work that actively flattens some of those differences, does important work in undoing the structures that maintain such a system and does so with levity, humor, and brightness. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548715290153-0ZD06QSVWP8I60VK4SMT/Martha+Clippinger+%283%29.jpg Exhibitions: Martha Clippinger KY - Martha Clippinger, Untitled, 2017, hand-dyed woven wool, 90 x 51 inches, Woven by Agustin Contreras Lopez https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548715289904-YP0N0LLHBCKC9H1TGWD7/Martha+Clippinger+%284%29.jpg Exhibitions: Martha Clippinger KY - Martha Clippinger, Opatija, 2013, acrylic and fur on wood, 10 x 2 x 1 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548715288137-1A0N969TP8L5IPQ2ELM7/Martha+Clippinger+%282%29.jpg Exhibitions: Martha Clippinger KY - Martha Clippinger, Kitty-Cornered, 2015, acrylic on wood, 20 x 5 x 1 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548715292878-HERE6K94OT9TMM82PXC3/Martha+Clippinger+%286%29.jpg Exhibitions: Martha Clippinger KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548715287482-6UQ9JKZ6Y6GZA2BZJ4VC/Martha+Clippinger+%281%29.jpg Exhibitions: Martha Clippinger KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548715287103-OIC149EUJMBXV8ICQ7GW/Martha+Clippinger+%281%29+cover.jpg Exhibitions: Martha Clippinger KY https://www.institute193.org/exhibitions-eddie-owens-martin-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548718432959-OH4EECCB9QM9FCP4IM2N/Eddie+Owens+Martin+%284%29.JPG Exhibitions: Eddie Owens Martin KY - Eddie Owens Martin, Untitled, oil on plywood, 33 x 25 inches Eddie Owens Martin St. EOM: Pasaquoyanism May 4 – June 22, 2018 Institute 193, Lexington "PASAQUOYANISM IS THE NEXT THING, MAN, IT IS DEFINITELY WAITING IN THE WINGS!!! It means the end of all these Buddhists and Muslims and Christians and all this other shit, man. I just hope I live long enough to establish it.” Eddie Owens Martin (1908–1986), better known as St. EOM, founded his own religion, Pasaquoyanism, in response to visions he had that started in his early twenties. In them, he was visited by giant men with long beards parted down the middle and hair that stood straight up from their heads. They instructed him to build Pasaquan, an expansive compound in his hometown of Buena Vista, Georgia, on which he built pagodas, temples, shrines, and dance floors made of cement and sand lavishly decorated with bright patterns and bas-relief, vividly painted representations of the beings that would continue to visit him over the course of his life. Martin left Georgia at the age of 14, hitching his way North to New York City. He spent the next three decades there, working as a hustler and tea room clairvoyant. For several years, he ran a gambling den and sold Georgia-style fried chicken and hand-rolled marijuana cigarettes out of his apartment in Harlem. In 1942, the operation was busted, and he was sent to the Federal Narcotics Prison Hospital (known colloquially as the Narco Farm) in Lexington, Kentucky, where he and most of the inmates, by most accounts, enjoyed themselves thoroughly. The friendships made while he was in the area would later lead a number of Lexingtonians, among them Robert Morgan and Guy Mendes, to make pilgrimages to Pasaquan in the ‘70s and ‘80s. Martin returned to New York in 1943, and, when not reading tea leaves or waiting tables at the Howdy Club, a popular gay nightlife spot at the time, painted constantly. Frequently too poor to afford paper or canvas, Martin often made use of scrap wood and metal as a painting surface. The work from this period mirrors the style and subject that would later come to define the murals and totems of Pasaquan. From an interview with Tom Patterson from 1983: “I was paintin’ like mad in those days,” he recalled. “I’d go to work in the tea room from 3:00 to 10:00, then I’d get back home and light up a joint or two and go to work on the paintin’ I had on the wall. I was paintin’ scenes of ancient Mayan temples and some of the other ancient civilizations, and some pictures of the heads with the upswept hair. All kinda things—beautiful paintin’s. I tried to get some of my art in the galleries in New York, but I just couldn’t ever get through. It was just… Well, it just wasn’t like the average art. It was too bizarre for ’em.” In the mid-1950s, another vision instructed Martin to go home to rural Georgia and begin work on Pasaquan, which he would build and maintain throughout the rest of his life. St. EOM pulled from myriad sources that span time, geography, and culture to build the system of beliefs on which his art and life’s work was founded. Pasaquoyanism, although it is a cult of one, continues to draw interest by examining thoroughly the roots and intricacies of so many systems of situating oneself within the spiritual world, and in that pursuit finds elements that are genuine and common to all of them. This collection is made available by the courtesy of Columbus State University, Columbus State University Foundation, Inc., Pasaquan in Buena Vista, Georgia, and through a gift by the Kohler Foundation, Inc. Special thanks to the Atlanta Contemporary, Daniel Fuller, Guy Mendes, and The Faulkner Morgan Archive. Press: Fragment of Another World: Eddie Owens Martin and Pasaquan at Institute 193 by Hunter Kissel, UnderMain, June 10, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548718432959-OH4EECCB9QM9FCP4IM2N/Eddie+Owens+Martin+%284%29.JPG Exhibitions: Eddie Owens Martin KY - Eddie Owens Martin, Untitled, oil on plywood, 33 x 25 inches Eddie Owens Martin St. EOM: Pasaquoyanism May 4 – June 22, 2018 Institute 193, Lexington "PASAQUOYANISM IS THE NEXT THING, MAN, IT IS DEFINITELY WAITING IN THE WINGS!!! It means the end of all these Buddhists and Muslims and Christians and all this other shit, man. I just hope I live long enough to establish it.” Eddie Owens Martin (1908–1986), better known as St. EOM, founded his own religion, Pasaquoyanism, in response to visions he had that started in his early twenties. In them, he was visited by giant men with long beards parted down the middle and hair that stood straight up from their heads. They instructed him to build Pasaquan, an expansive compound in his hometown of Buena Vista, Georgia, on which he built pagodas, temples, shrines, and dance floors made of cement and sand lavishly decorated with bright patterns and bas-relief, vividly painted representations of the beings that would continue to visit him over the course of his life. Martin left Georgia at the age of 14, hitching his way North to New York City. He spent the next three decades there, working as a hustler and tea room clairvoyant. For several years, he ran a gambling den and sold Georgia-style fried chicken and hand-rolled marijuana cigarettes out of his apartment in Harlem. In 1942, the operation was busted, and he was sent to the Federal Narcotics Prison Hospital (known colloquially as the Narco Farm) in Lexington, Kentucky, where he and most of the inmates, by most accounts, enjoyed themselves thoroughly. The friendships made while he was in the area would later lead a number of Lexingtonians, among them Robert Morgan and Guy Mendes, to make pilgrimages to Pasaquan in the ‘70s and ‘80s. Martin returned to New York in 1943, and, when not reading tea leaves or waiting tables at the Howdy Club, a popular gay nightlife spot at the time, painted constantly. Frequently too poor to afford paper or canvas, Martin often made use of scrap wood and metal as a painting surface. The work from this period mirrors the style and subject that would later come to define the murals and totems of Pasaquan. From an interview with Tom Patterson from 1983: “I was paintin’ like mad in those days,” he recalled. “I’d go to work in the tea room from 3:00 to 10:00, then I’d get back home and light up a joint or two and go to work on the paintin’ I had on the wall. I was paintin’ scenes of ancient Mayan temples and some of the other ancient civilizations, and some pictures of the heads with the upswept hair. All kinda things—beautiful paintin’s. I tried to get some of my art in the galleries in New York, but I just couldn’t ever get through. It was just… Well, it just wasn’t like the average art. It was too bizarre for ’em.” In the mid-1950s, another vision instructed Martin to go home to rural Georgia and begin work on Pasaquan, which he would build and maintain throughout the rest of his life. St. EOM pulled from myriad sources that span time, geography, and culture to build the system of beliefs on which his art and life’s work was founded. Pasaquoyanism, although it is a cult of one, continues to draw interest by examining thoroughly the roots and intricacies of so many systems of situating oneself within the spiritual world, and in that pursuit finds elements that are genuine and common to all of them. This collection is made available by the courtesy of Columbus State University, Columbus State University Foundation, Inc., Pasaquan in Buena Vista, Georgia, and through a gift by the Kohler Foundation, Inc. Special thanks to the Atlanta Contemporary, Daniel Fuller, Guy Mendes, and The Faulkner Morgan Archive. Press: Fragment of Another World: Eddie Owens Martin and Pasaquan at Institute 193 by Hunter Kissel, UnderMain, June 10, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548718416282-PGK508UZDOVUY9H9XNZU/Eddie+Owens+Martin+%281%29.JPG Exhibitions: Eddie Owens Martin KY - Eddie Owens Martin, Untitled, oil on canvas, 20 x 23 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548718425328-7LV11K5JN6GLBLQW9NPH/Eddie+Owens+Martin+%283%29.jpg Exhibitions: Eddie Owens Martin KY - Eddie Owens Martin, Untitled, watercolor and ink on paper, 19 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548718426322-E9NRH5MXLDRDI0M8SFOL/Eddie+Owens+Martin+%282%29.jpg Exhibitions: Eddie Owens Martin KY - Eddie Owens Martin, Untitled, ink on paper, 39 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548718435314-GGEQZS3UEVT0Z1NC6HJA/Eddie+Owens+Martin+%286%29.jpg Exhibitions: Eddie Owens Martin KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548718414340-D4YF3RKYFIMNDYF4O01R/Eddie+Owens+Martin+%281%29+cover.jpg Exhibitions: Eddie Owens Martin KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1548718432508-Y4XGD8QVEA9KSWF21I2Q/Eddie+Owens+Martin+%285%29.jpg Exhibitions: Eddie Owens Martin KY - Installation View https://www.institute193.org/exhibitions-john-martin-ny daily 0.75 2020-02-09 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553964733665-HNNIJQ6E4K4W8W16IUH6/John+Martin+Tools+-+Large+Image.jpg Exhibitions: John Martin NY - Various Works John Martin John Martin's Toolbox November 10, 2018 – January 1, 2019 Institute 193 (1B), New York Reach into John Martin’s toolbox and you won’t find rusty metal wrenches, old hammers, or runaway screws. In their place lies a vast array of chunky ceramic sculptures, styled with dynamic colors and exaggerated shapes. Too large to be operable and too fragile to be functional, Martin’s tools are the primary method of interaction with the objects that fascinate him. Tools are born from the human imagination, dictated by our goals to work faster, build stronger, and reach further. They make us as we make them. Raised on a farm, tools and machinery were part of Martin’s daily life. He wasn’t allowed to—and still doesn’t—use conventional tools, but they are omnipresent in his work. He draws them. He paints them. He sculpts them in wood and shapes them in clay. Despite a lack of first-hand use, Martin acquired a visual vocabulary of tools from years of observation on his family’s farm. Martin’s sculptures invite us to separate the physical tool from our notions of it; what does a tool become when it is no longer practical? Martin was born in Mississippi in 1963 and spent most of his childhood on his family’s farm in Arkansas. Years later, he moved to Oakland, California to live with his grandmother and aunt, where he began working with Creative Growth in 1987. Martin has always collected watches and keys, and over the past decade built a large collection of found tools. However, his signature images of knives, hammers, and saws go back to his experience as a child on his family’s farm. Creative Growth is a non-profit art studio that supports artists with developmental disabilities. Their large facility offers resources like a ceramic studio, sewing and quilting equipment, and a range of two-dimensional mediums. Creative Growth also provides a gallery and representation to their artists. Press: John Martin at Institute 193 (1B), New York by the Editors of ARTnews, ARTnews, December 10, 2018 "I Made About 50 Millions of Tools:” An Interview with Creative Growth Artist John Martin by Matt Dostal, Ace Hotel Blog, November 5, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553964733665-HNNIJQ6E4K4W8W16IUH6/John+Martin+Tools+-+Large+Image.jpg Exhibitions: John Martin NY - Various Works John Martin John Martin's Toolbox November 10, 2018 – January 1, 2019 Institute 193 (1B), New York Reach into John Martin’s toolbox and you won’t find rusty metal wrenches, old hammers, or runaway screws. In their place lies a vast array of chunky ceramic sculptures, styled with dynamic colors and exaggerated shapes. Too large to be operable and too fragile to be functional, Martin’s tools are the primary method of interaction with the objects that fascinate him. Tools are born from the human imagination, dictated by our goals to work faster, build stronger, and reach further. They make us as we make them. Raised on a farm, tools and machinery were part of Martin’s daily life. He wasn’t allowed to—and still doesn’t—use conventional tools, but they are omnipresent in his work. He draws them. He paints them. He sculpts them in wood and shapes them in clay. Despite a lack of first-hand use, Martin acquired a visual vocabulary of tools from years of observation on his family’s farm. Martin’s sculptures invite us to separate the physical tool from our notions of it; what does a tool become when it is no longer practical? Martin was born in Mississippi in 1963 and spent most of his childhood on his family’s farm in Arkansas. Years later, he moved to Oakland, California to live with his grandmother and aunt, where he began working with Creative Growth in 1987. Martin has always collected watches and keys, and over the past decade built a large collection of found tools. However, his signature images of knives, hammers, and saws go back to his experience as a child on his family’s farm. Creative Growth is a non-profit art studio that supports artists with developmental disabilities. Their large facility offers resources like a ceramic studio, sewing and quilting equipment, and a range of two-dimensional mediums. Creative Growth also provides a gallery and representation to their artists. Press: John Martin at Institute 193 (1B), New York by the Editors of ARTnews, ARTnews, December 10, 2018 "I Made About 50 Millions of Tools:” An Interview with Creative Growth Artist John Martin by Matt Dostal, Ace Hotel Blog, November 5, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549910040381-QA4LIL4E6CL2H7NVTTYS/John+Martin_JMa+484+2018_10.5x2.75x.5.jpg Exhibitions: John Martin NY - John Martin, Untitled, 2018, ceramic, 10.5 x 2.75 x 0.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549910038067-NHGDTA1AT87H6NW51D62/John+Martin_JMa+457+2018_19x5.75x.75.jpg Exhibitions: John Martin NY - John Martin, Untitled, 2018, ceramic, 19 x 5.75 x 0.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549909993826-RZMW3OPWK5VRG6SJP23P/0.jpg Exhibitions: John Martin NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549910001574-XWLNTYW58P9V3LE01DX8/5.jpg Exhibitions: John Martin NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549909994459-8Z8CGBQ5A80VZMFR4CDW/4.jpg Exhibitions: John Martin NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549910013590-6KC0GEO9RXAPBJJV6UYH/15.jpg Exhibitions: John Martin NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549910029284-NJDVWP2ROT1UYTO75XMS/17.jpg Exhibitions: John Martin NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549910012963-HISBR3TRVB0PAQTLJVRJ/12.jpg Exhibitions: John Martin NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549910004548-BPC82GVSZG9ADOOJBQ3P/6.jpg Exhibitions: John Martin NY - Installation View https://www.institute193.org/exhibitions-eddie-owens-martin-ny daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911012728-G59S9ZE9FN4SWQHQ0AWP/EOM_01.jpg Exhibitions: Eddie Owens Martin NY - Eddie Owens Martin, Untitled, n.d. watercolor and graphite on paper, 10 x 12.5 inches Eddie Owens Martin Pasaquoyan in the City: Fashioning a Southern Saint Curated by Annie Moye and Michael McFalls September 26 – November 3, 2018 Institute 193 (1B), New York Pasaquoyan in the City: Fashioning a Southern Saint, the inaugural exhibit at Institute 193’s East Village space, (1B), which opens on September 26, 2018, features a mostly never-before-seen collection of works by the late artist Eddie Owens Martin, or St. EOM, as he later called himself. Born in rural Marion County, Georgia, in 1908, Martin hitchhiked his way to New York City’s Greenwich Village at the age of fourteen to pursue a life of adventure, culture, and revelry that he couldn’t enjoy on his family’s farm back in the South. Supporting himself as a hustler, a fortune teller, and a waiter, he absorbed as much of the art world as he could and relished the company of drag queens, drug dealers, and other partiers, who later become the subjects in his drawings. During an illness in 1935, Martin received his first vision from a futuristic, gender-bending alien who called on him to follow the “true way,” the path of a new religion called Pasaquoyanism. Martin agreed, became the world’s first Pasaquoyan, and began transitioning his identity from Eddie Owens Martin to St. EOM. St. EOM would remain in New York for twelve years, developing his spiritual belief system and honing his craft as a budding artist. Though he never received much recognition for his art in NYC, he continued to exhibit at small street festivals and was even featured in a short piece in the Village Voice in May 1957. By that time, however, the southern saint had had enough of the city and decided to return to his recently deceased mother’s farm outside of Buena Vista, Georgia. There, he worked as a card reader—“the poor man’s psychiatrist,” he said—for members of the local community and began construction on his magnum opus, the seven-acre art environment he called Pasaquan, to which he would devote the last thirty years of his life. Today, thirty-two years after his death and two years removed from the completion of a major restoration project by the Kohler Foundation, Pasaquan is as vibrant and fascinating as ever. Owned and operated by Columbus State University, the site allows visitors to explore the “pre-Colombian, psychedelic wonderland,” as St. EOM’s biographer, Tom Patterson, once dubbed it, every weekend during the academic year. The drawings and sketchbooks presented in this exhibition were selected from a collection of 1200 drawings found in steamer trunks in an attic at Pasaquan. These drawings have never been exhibited and were probably never removed from their trunks after Eddie moved back to Georgia from NYC. Many of the sketches recently saw the light of day after they were gifted to the Columbus State University Archives. The drawings selected reflect the time St. EOM spent in New York post-vision and pre-Pasaquan, as he was building his new identity and belief system and advancing his unique artistic style that has become so iconic. Inspired by the eccentric characters and personalities he met in the city, St. EOM obsessively worked on portraits and fashion designs that often blurred the line between reality and Pasaquoyan fantasy. In these early drawings, one can sense the immediacy of his vision, the urgency of creation, and the depth of his passion. Primarily created between 1935 and 1957, these works reflect a saint-in-progress and an ideology in the making. The exhibit also features a peek into St. EOM’s self-styled and handmade wardrobe, including one of the extraordinary outfits he wore on the grounds of Pasaquan as a fully-fashioned southern saint. Press: Eddie Owens Martin’s Transformation into an Outsider Saint by John Yau, Hyperallergic, October 14, 2018 Institute 193 (1B) + Artist St. EOM by Annie Moye, Alabama Chanin Journal, October 7, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911012728-G59S9ZE9FN4SWQHQ0AWP/EOM_01.jpg Exhibitions: Eddie Owens Martin NY - Eddie Owens Martin, Untitled, n.d. watercolor and graphite on paper, 10 x 12.5 inches Eddie Owens Martin Pasaquoyan in the City: Fashioning a Southern Saint Curated by Annie Moye and Michael McFalls September 26 – November 3, 2018 Institute 193 (1B), New York Pasaquoyan in the City: Fashioning a Southern Saint, the inaugural exhibit at Institute 193’s East Village space, (1B), which opens on September 26, 2018, features a mostly never-before-seen collection of works by the late artist Eddie Owens Martin, or St. EOM, as he later called himself. Born in rural Marion County, Georgia, in 1908, Martin hitchhiked his way to New York City’s Greenwich Village at the age of fourteen to pursue a life of adventure, culture, and revelry that he couldn’t enjoy on his family’s farm back in the South. Supporting himself as a hustler, a fortune teller, and a waiter, he absorbed as much of the art world as he could and relished the company of drag queens, drug dealers, and other partiers, who later become the subjects in his drawings. During an illness in 1935, Martin received his first vision from a futuristic, gender-bending alien who called on him to follow the “true way,” the path of a new religion called Pasaquoyanism. Martin agreed, became the world’s first Pasaquoyan, and began transitioning his identity from Eddie Owens Martin to St. EOM. St. EOM would remain in New York for twelve years, developing his spiritual belief system and honing his craft as a budding artist. Though he never received much recognition for his art in NYC, he continued to exhibit at small street festivals and was even featured in a short piece in the Village Voice in May 1957. By that time, however, the southern saint had had enough of the city and decided to return to his recently deceased mother’s farm outside of Buena Vista, Georgia. There, he worked as a card reader—“the poor man’s psychiatrist,” he said—for members of the local community and began construction on his magnum opus, the seven-acre art environment he called Pasaquan, to which he would devote the last thirty years of his life. Today, thirty-two years after his death and two years removed from the completion of a major restoration project by the Kohler Foundation, Pasaquan is as vibrant and fascinating as ever. Owned and operated by Columbus State University, the site allows visitors to explore the “pre-Colombian, psychedelic wonderland,” as St. EOM’s biographer, Tom Patterson, once dubbed it, every weekend during the academic year. The drawings and sketchbooks presented in this exhibition were selected from a collection of 1200 drawings found in steamer trunks in an attic at Pasaquan. These drawings have never been exhibited and were probably never removed from their trunks after Eddie moved back to Georgia from NYC. Many of the sketches recently saw the light of day after they were gifted to the Columbus State University Archives. The drawings selected reflect the time St. EOM spent in New York post-vision and pre-Pasaquan, as he was building his new identity and belief system and advancing his unique artistic style that has become so iconic. Inspired by the eccentric characters and personalities he met in the city, St. EOM obsessively worked on portraits and fashion designs that often blurred the line between reality and Pasaquoyan fantasy. In these early drawings, one can sense the immediacy of his vision, the urgency of creation, and the depth of his passion. Primarily created between 1935 and 1957, these works reflect a saint-in-progress and an ideology in the making. The exhibit also features a peek into St. EOM’s self-styled and handmade wardrobe, including one of the extraordinary outfits he wore on the grounds of Pasaquan as a fully-fashioned southern saint. Press: Eddie Owens Martin’s Transformation into an Outsider Saint by John Yau, Hyperallergic, October 14, 2018 Institute 193 (1B) + Artist St. EOM by Annie Moye, Alabama Chanin Journal, October 7, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911149628-28F8NVTVRUK5GJWV5VIH/EOM_09.jpg Exhibitions: Eddie Owens Martin NY - Eddie Owens Martin, Untitled, n.d., watercolor and pen on paper, 17 x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911149677-R2DYCIXZ566UA9M586E4/EOM_08.jpg Exhibitions: Eddie Owens Martin NY - Eddie Owens Martin, Untitled, n.d., watercolor and pen on paper, 17.25 x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911157566-FTPTF1QNS4F9HR12CXPI/EOM_11.jpg Exhibitions: Eddie Owens Martin NY - Eddie Owens Martin, Untitled, n.d., watercolor and pen on paper, 19.75 x 14.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911157425-VC69F0QYJGY2Q3U37G39/EOM_10.jpg Exhibitions: Eddie Owens Martin NY - Eddie Owens Martin, Untitled, n.d., watercolor and pen on paper, 22 x 10.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911025732-9O6BFDCFF7FEF77054UW/EOM_02.jpg Exhibitions: Eddie Owens Martin NY - Eddie Owens Martin, Untitled, n.d., watercolor and graphite on paper, 14 x 11.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911015672-H3TACIBOF431U9NOJYC4/EOM_03.jpg Exhibitions: Eddie Owens Martin NY - Eddie Owens Martin, Untitled, n.d., watercolor and pen on paper, 14 x 11.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911037253-LB08TOGV730JPKQHOAU8/EOM_05.jpg Exhibitions: Eddie Owens Martin NY - Eddie Owens Martin, Untitled, n.d., watercolor and pen on paper, 14 x 11.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911167465-DMMK6YAL9RJDEL11JV4M/EOMinstall5.jpg Exhibitions: Eddie Owens Martin NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911044245-WEGLOTBT0UXPD2N8QZ26/EOM_06.jpg Exhibitions: Eddie Owens Martin NY - Eddie Owens Martin, Untitled, n.d., watercolor and pen on paper, 14 x 11.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911047607-QNX1J44XDYPN34T66D8D/EOM_07.jpg Exhibitions: Eddie Owens Martin NY - Eddie Owens Martin, Untitled, n.d., watercolor and pen on paper, 17.25 x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911034037-QR9OE0ZVO1RPSH5XXIJ2/EOM_04.jpg Exhibitions: Eddie Owens Martin NY - Eddie Owens Martin, Untitled, n.d., watercolor and pen on paper 14 x 17 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911164324-TLFAH768U6OI7CYNWF88/EOMInstall2.jpg Exhibitions: Eddie Owens Martin NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911160539-ALUFT8ZHN745NPX4DQIT/EOMinstall0.jpg Exhibitions: Eddie Owens Martin NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911164978-9F3PHZK1CBOFSTO8HIOP/EOMInstall3.jpg Exhibitions: Eddie Owens Martin NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911166456-ZR6JB44I8VONY0M4V3M4/EOMInstall4.jpg Exhibitions: Eddie Owens Martin NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549911162785-PHMQ44R3AXOR3U7LYQTT/EOMinstall1.jpg Exhibitions: Eddie Owens Martin NY - Installation View https://www.institute193.org/exhibitions-stephen-varble-ky daily 0.75 2020-02-09 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549909338236-TFPPKWB5W51EL8OWRQH8/Stephen+Varble+%281%29.jpg Exhibitions: Stephen Varble KY - Stephen Varble, Untitled, 1982-83 (after drawings from ca. 1981-83), Xerographic print on paper, 8.5 x 11 inches. Gift of Charles Rue Woods to the Faulkner-Morgan Archive, Lexington Stephen Varble An Antidote to Nature’s Ruin on the Heavenly Globe, Prints and Video of the Early 1980s Curated by David J. Getsy 20 October – December 1, 2018 Institute 193, Lexington Stephen Varble became notorious in 1970s New York for his disruptive performances in costumes made from trash and found objects. Born in Owensboro in 1946 and educated at the University of Kentucky, Varble moved to New York in 1969 and established himself as an outsider who mocked elitism, class, and gender. In the later 1970s, he shifted from performance art to drawing and video in an attempt to make art that could be distributed freely and easily. The Xerox machine became an artistic tool, and he started making drawings to be reproduced as xerographic prints. At the same time, he worked on a video epic, titled Journey to the Sun, that he hoped to distribute as “video books.” Institute 193 is proud to present the first exhibition that explores Varble’s interest in reproducible media. Including a selection of prints and excerpted footage of the video Journey to the Sun, the exhibition offers a view of Varble’s energetic final years before his death of AIDS-related complications in the first days of 1984. Poetic, personal, and often perverse, Varble’s prints and video conjure a fantasy world of metamorphosis and the openness of gender. They offer fables of spiritual journeys, rituals of purification, and the transformational possibility of the everyday. Funding for this exhibition has been received in part from the generous support of the Graham Foundation for the Advanced Studies in Fine Arts, and The Andy Warhol Foundation for the Visual Arts. Press: “Rubbish and Dreams” in Kentucky’s Queer Archives: A Conversation with David Getsy on researching Stephen Varble by Miriam Kienle, UnderMain, November 23, 2018 ‘An Antidote To Nature’s Ruin On This Heavenly Globe’ at Institute 193 by Emily Goodman, UnderMain, November 18, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549909338236-TFPPKWB5W51EL8OWRQH8/Stephen+Varble+%281%29.jpg Exhibitions: Stephen Varble KY - Stephen Varble, Untitled, 1982-83 (after drawings from ca. 1981-83), Xerographic print on paper, 8.5 x 11 inches. Gift of Charles Rue Woods to the Faulkner-Morgan Archive, Lexington Stephen Varble An Antidote to Nature’s Ruin on the Heavenly Globe, Prints and Video of the Early 1980s Curated by David J. Getsy 20 October – December 1, 2018 Institute 193, Lexington Stephen Varble became notorious in 1970s New York for his disruptive performances in costumes made from trash and found objects. Born in Owensboro in 1946 and educated at the University of Kentucky, Varble moved to New York in 1969 and established himself as an outsider who mocked elitism, class, and gender. In the later 1970s, he shifted from performance art to drawing and video in an attempt to make art that could be distributed freely and easily. The Xerox machine became an artistic tool, and he started making drawings to be reproduced as xerographic prints. At the same time, he worked on a video epic, titled Journey to the Sun, that he hoped to distribute as “video books.” Institute 193 is proud to present the first exhibition that explores Varble’s interest in reproducible media. Including a selection of prints and excerpted footage of the video Journey to the Sun, the exhibition offers a view of Varble’s energetic final years before his death of AIDS-related complications in the first days of 1984. Poetic, personal, and often perverse, Varble’s prints and video conjure a fantasy world of metamorphosis and the openness of gender. They offer fables of spiritual journeys, rituals of purification, and the transformational possibility of the everyday. Funding for this exhibition has been received in part from the generous support of the Graham Foundation for the Advanced Studies in Fine Arts, and The Andy Warhol Foundation for the Visual Arts. Press: “Rubbish and Dreams” in Kentucky’s Queer Archives: A Conversation with David Getsy on researching Stephen Varble by Miriam Kienle, UnderMain, November 23, 2018 ‘An Antidote To Nature’s Ruin On This Heavenly Globe’ at Institute 193 by Emily Goodman, UnderMain, November 18, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549909339747-CZZW8GM1Q3IDHSQJIZM2/Stephen+Varble+%282%29.jpg Exhibitions: Stephen Varble KY - Stephen Varble, Untitled, 1982-83 (after drawings from ca. 1981-83), Xerographic print on paper, 8.5 x 11 inches. Gift of Charles Rue Woods to the Faulkner-Morgan Archive, Lexington https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549909340159-MTC3ZD5EA7RKH1RBD0XM/Stephen+Varble+%283%29.jpg Exhibitions: Stephen Varble KY - Stephen Varble, Untitled, 1982-83 (after drawings from ca. 1981-83), Xerographic print on paper, 8.5 x 11 inches. Gift of Charles Rue Woods to the Faulkner-Morgan Archive, Lexington https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549909341012-KG3YU3ERNL83I25BYK3E/Stephen+Varble+%285%29.jpg Exhibitions: Stephen Varble KY - Stephen Varble, video still from Journey to the Sun, 1978–83 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549909340717-YDUG2XZ8QWLM891XXYN8/Stephen+Varble+%284%29.jpg Exhibitions: Stephen Varble KY - Stephen Varble, Untitled, 1982-83 (after drawings from ca. 1981-83), Xerographic print on paper, 8.5 x 11 inches. Gift of Charles Rue Woods to the Faulkner-Morgan Archive, Lexington https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549909341690-JDISD6WAYWGI92MLG2GW/Stephen+Varble+%287%29.jpg Exhibitions: Stephen Varble KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549909341325-TAHY65NCB816KDPLLR3B/Stephen+Varble+%286%29.jpg Exhibitions: Stephen Varble KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549909341984-P9S4SQL2LUKA5GUV4GHD/Stephen+Varble+%288%29.jpg Exhibitions: Stephen Varble KY - Installation View https://www.institute193.org/exhibitions-zane-campbell-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554049148225-EZXX9I65GX2699H84F2U/ZC10.jpg Exhibitions: Zane Campbell KY - Zane Campbell, Untitled (from the Alcoholic Janitor), ca. 1980s, pen on paper, 12 x 18 inches Zane Campbell Alcoholic Janitor January 9 – February 12, 2019 Institute 193, Lexington Institute 193 is happy to present the first solo exhibition of work by artist and musician Zane Campbell. Although born and raised in Maryland, Campbell comes from a well-known North Carolina family synonymous with Appalachia and mountain music. His relatives include an aunt, Ola Belle Reed, a legendary banjo player, and a great uncle, Guy Brooks, who was a fiddle player in the Red Fox Chasers. The family is credited with bringing country music to northeast Maryland where they operated general stores, a country music radio station, and New River Ranch, a country music park venue that played host to legends of the genre like the Louvin Brothers and Hank Williams. In the late-‘70s, Campbell dropped out of college and moved to New York City with aspirations to make it in the punk scene. A series of events led him to the Kolping House, a boarding house run by the Catholic church, where he rented a room and eventually was hired as a janitor. His time there prompted him to write a largely autobiographical account of some of the outrageous happenings that occurred during his tenure there. The story is centered on Worth MacDonald, a character meant as a stand-in for Campbell. It tracks his progressively erratic and self-destructive behavior resulting from alcoholism and his struggles to get sober. Throughout, we’re introduced to a host of misfits emblematic of a version of New York that predates the sanitation and gentrification of Manhattan that would go on to occur in the mid and late 1990s after the mayorships of Ed Koch and Rudy Giuliani. The stories and character profiles are frequently exaggerated and told in the style of a Southern Gothic, complete with an angst-ridden and frequently amoral protagonist and a cast of bizarre characters that includes a pigeon man, a coprophile, and a dangerously ascetic religious fanatic. Campbell initially set out to tell the story of the Alcoholic Janitor as an illuminated manuscript. As such, nearly 80 drawings accompany the text, many sections of which have been painstakingly copied by hand and set against highly decorated backgrounds. The drawings Campbell made to accompany the roughly 100-page text are remarkable in their own right. They are intricate and painstakingly worked, with a comic-like focus on narrative and structure. They’re frequently funny and unsparing in their portrayal of the dark, complicated world Campbell writes about in the manuscript. In addition to drawings and pages of calligraphic text from the Alcoholic Janitor, Campbell’s travel notebooks, which blend his handwritten song lyrics, diary entries, and drawings, will be on display. Special thanks to Travis Kitchens for making this exhibition possible. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554049148225-EZXX9I65GX2699H84F2U/ZC10.jpg Exhibitions: Zane Campbell KY - Zane Campbell, Untitled (from the Alcoholic Janitor), ca. 1980s, pen on paper, 12 x 18 inches Zane Campbell Alcoholic Janitor January 9 – February 12, 2019 Institute 193, Lexington Institute 193 is happy to present the first solo exhibition of work by artist and musician Zane Campbell. Although born and raised in Maryland, Campbell comes from a well-known North Carolina family synonymous with Appalachia and mountain music. His relatives include an aunt, Ola Belle Reed, a legendary banjo player, and a great uncle, Guy Brooks, who was a fiddle player in the Red Fox Chasers. The family is credited with bringing country music to northeast Maryland where they operated general stores, a country music radio station, and New River Ranch, a country music park venue that played host to legends of the genre like the Louvin Brothers and Hank Williams. In the late-‘70s, Campbell dropped out of college and moved to New York City with aspirations to make it in the punk scene. A series of events led him to the Kolping House, a boarding house run by the Catholic church, where he rented a room and eventually was hired as a janitor. His time there prompted him to write a largely autobiographical account of some of the outrageous happenings that occurred during his tenure there. The story is centered on Worth MacDonald, a character meant as a stand-in for Campbell. It tracks his progressively erratic and self-destructive behavior resulting from alcoholism and his struggles to get sober. Throughout, we’re introduced to a host of misfits emblematic of a version of New York that predates the sanitation and gentrification of Manhattan that would go on to occur in the mid and late 1990s after the mayorships of Ed Koch and Rudy Giuliani. The stories and character profiles are frequently exaggerated and told in the style of a Southern Gothic, complete with an angst-ridden and frequently amoral protagonist and a cast of bizarre characters that includes a pigeon man, a coprophile, and a dangerously ascetic religious fanatic. Campbell initially set out to tell the story of the Alcoholic Janitor as an illuminated manuscript. As such, nearly 80 drawings accompany the text, many sections of which have been painstakingly copied by hand and set against highly decorated backgrounds. The drawings Campbell made to accompany the roughly 100-page text are remarkable in their own right. They are intricate and painstakingly worked, with a comic-like focus on narrative and structure. They’re frequently funny and unsparing in their portrayal of the dark, complicated world Campbell writes about in the manuscript. In addition to drawings and pages of calligraphic text from the Alcoholic Janitor, Campbell’s travel notebooks, which blend his handwritten song lyrics, diary entries, and drawings, will be on display. Special thanks to Travis Kitchens for making this exhibition possible. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554049475464-SJWJP8XMFBZ68YMO61PX/ZC5.jpg Exhibitions: Zane Campbell KY - Zane Campbell, Untitled (from the Alcoholic Janitor), ca. 1980s, pen on paper, 17 x 11 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1558290621153-QAYJLG7OLKUBB3JIKQ4F/ZC11.jpg Exhibitions: Zane Campbell KY - Zane Campbell, Untitled (from the Alcoholic Janitor), ca. 1980s, pen on paper, 17 x 11 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1550076236093-7LEAQ6QL7TBTXWOYZBU7/30e3fe6bacb2b052-ZC1small+copy.jpg Exhibitions: Zane Campbell KY - Zane Campbell, Untitled (from the Alcoholic Janitor), ca. 1980s, pen on paper, 12 x 18 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554049551609-SX3MA0ROKIEXZ4OO72Q6/ZCinstall1.jpg Exhibitions: Zane Campbell KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554049578622-1LZ4G58J85K4KJ0JD0V8/ZCinstall2.jpg Exhibitions: Zane Campbell KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554049606077-Z6YH575AIIJ0DEJI5219/ZCinstall3.jpg Exhibitions: Zane Campbell KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554049612866-CIPCVFJ7ZSHT00Q2N0GA/ZCinstall4.jpg Exhibitions: Zane Campbell KY - Installation View https://www.institute193.org/exhibitions-melissa-carter-ky daily 0.75 2020-02-09 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549908938759-HAOYXH15U3Y4PMTRM4ZO/Melissa+Carter+%283%29.jpg Exhibitions: Melissa Carter KY - Melissa Carter, I'm an Oil Man, 2017, oil on canvas, 60 x 48 inches Melissa Carter New Masters Curated by Emma Friedman-Buchanan August 31 – October 13, 2018 Institute 193, Lexington When dealing with the figure, Carter takes Rousseau’s and Matisse’s work as sources for her compositions. She stylistically appropriates their use of at areas of vivid color and pattern and the collapse of space in their depictions of hired models within carefully staged studios and “exotic” imaginary environments. Yet these settings completely give way to dream-like spaces where women are no longer passive decorative elements. Instead, Carter transforms archetypal images of odalisques, often exoticized concubines or sex slaves, into images of powerful women. As chess masters, astronauts, and academic artist-fellows, or as small, rotund genderless figures that freely roam the canvas, all sharply gaze out at the viewer. In Carter’s representations, the one-sided power dynamic between artist and model dissolves through her literal repositioning of women in art. Playing with popular imagination, her non-figurative works call to mind the grandeur of the highly masculine Abstract Expressionist movement of the mid-1940s and ‘50s. ‘I’m an Oil Man’ prompts associations between the traditional use of oil paint by artists throughout art history, the cultural celebration of male genius-artists such as Mark Rothko and his color eld paintings, and the wealth and prestige generated by both oil moguls and famous male artists who continually outsell and overshadow women artists working contemporaneously. In Carter’s Cosby Sweater series, smeary, gestural lines and bold colors resemble the knit texture and ‘80s palette of Bill Cosby’s sweaters. The monumental works conflate the Abstract Expressionist qualities of strength, force, and virility with the allegations of sexual abuse committed by Cosby, provoking a sense of cognitive dissonance surrounding the cultural ties between masculinity and greatness. These images critique traditionally inadequate methods of art historicization and culturally sanctioned misogyny, both of which devalue the identities and contributions of women as artists, models, and human beings. As one of many groups previously left on the margins of critical and cultural conversation, Carter portrays women now in possession of their own image and at the center of their own experiences, revising the social dynamics and representational possibilities of the histories she engages with. Press: Melissa Carter: New Masters by Emily Goodman, Number Magazine, Winter 2018 New Masters Against Mastery by Miriam Kienle, UnderMain, October 12, 2018 Melissa Carter at Institute 193 in Lexington by Heath Stiltner, Burnaway, October 10, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549908938759-HAOYXH15U3Y4PMTRM4ZO/Melissa+Carter+%283%29.jpg Exhibitions: Melissa Carter KY - Melissa Carter, I'm an Oil Man, 2017, oil on canvas, 60 x 48 inches Melissa Carter New Masters Curated by Emma Friedman-Buchanan August 31 – October 13, 2018 Institute 193, Lexington When dealing with the figure, Carter takes Rousseau’s and Matisse’s work as sources for her compositions. She stylistically appropriates their use of at areas of vivid color and pattern and the collapse of space in their depictions of hired models within carefully staged studios and “exotic” imaginary environments. Yet these settings completely give way to dream-like spaces where women are no longer passive decorative elements. Instead, Carter transforms archetypal images of odalisques, often exoticized concubines or sex slaves, into images of powerful women. As chess masters, astronauts, and academic artist-fellows, or as small, rotund genderless figures that freely roam the canvas, all sharply gaze out at the viewer. In Carter’s representations, the one-sided power dynamic between artist and model dissolves through her literal repositioning of women in art. Playing with popular imagination, her non-figurative works call to mind the grandeur of the highly masculine Abstract Expressionist movement of the mid-1940s and ‘50s. ‘I’m an Oil Man’ prompts associations between the traditional use of oil paint by artists throughout art history, the cultural celebration of male genius-artists such as Mark Rothko and his color eld paintings, and the wealth and prestige generated by both oil moguls and famous male artists who continually outsell and overshadow women artists working contemporaneously. In Carter’s Cosby Sweater series, smeary, gestural lines and bold colors resemble the knit texture and ‘80s palette of Bill Cosby’s sweaters. The monumental works conflate the Abstract Expressionist qualities of strength, force, and virility with the allegations of sexual abuse committed by Cosby, provoking a sense of cognitive dissonance surrounding the cultural ties between masculinity and greatness. These images critique traditionally inadequate methods of art historicization and culturally sanctioned misogyny, both of which devalue the identities and contributions of women as artists, models, and human beings. As one of many groups previously left on the margins of critical and cultural conversation, Carter portrays women now in possession of their own image and at the center of their own experiences, revising the social dynamics and representational possibilities of the histories she engages with. Press: Melissa Carter: New Masters by Emily Goodman, Number Magazine, Winter 2018 New Masters Against Mastery by Miriam Kienle, UnderMain, October 12, 2018 Melissa Carter at Institute 193 in Lexington by Heath Stiltner, Burnaway, October 10, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549908938811-M8920W2HT5J4FD8E8MFO/Melissa+Carter+%282%29.jpg Exhibitions: Melissa Carter KY - Melissa Carter, Chess Master with Blue Gown, 2018, oil on canvas, 72 x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549908941711-VDPN7GZP43RS8F8PGG7T/Melissa+Carter+%284%29.jpg Exhibitions: Melissa Carter KY - Melissa Carter, Astronaut in Red Jacket, 2018, oil on canvas, 72 x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1558215407292-82RPSATBN9NK2TH5TXLH/Diebenkorn_Fellow_.jpg Exhibitions: Melissa Carter KY - Melissa Carter, Diebenkorn Fellow, 2018, oil on canvas, 72 x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1558215389167-PSCQ2O4CFKC6L4ENO1PM/Carter_Cosby_Sweater_%232_72ppi.jpg Exhibitions: Melissa Carter KY - Melissa Carter, Cosby Sweater #2, 2017, oil on canvas, 72 x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549908934564-DBB655NKJP4UJ9XB0YTS/Melissa+Carter+%281%29+cover.jpg Exhibitions: Melissa Carter KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1558215395303-DS8R6L8MLLOZ1YLW00CK/Carter_Cosby_Sweater_2017.jpg Exhibitions: Melissa Carter KY - Melissa Carter, Cosby Sweater, 2017, oil on canvas, 60 x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1558215398590-5R7O319SQRI9F25WX83F/Carter_The_Snake_Charmer_72ppi.jpg Exhibitions: Melissa Carter KY - Melissa Carter, The Snake Charmer, 2018, oil on canvas, 62 x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549908935036-643BN6FD9JGT42MM6MBD/Melissa+Carter+%281%29.jpg Exhibitions: Melissa Carter KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1549908941273-XIYK55D2TYQZJ0PRJCTJ/Melissa+Carter+%285%29.jpg Exhibitions: Melissa Carter KY - Installation View https://www.institute193.org/off-site-summer-studio daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553016309597-7HHUI2ZD4QWFFTFEHB4B/EDK11.jpg Off Site: Summer Studio - Installation View (Jessie Dunahoo)        Summer Studio The Elaine de Kooning House June 25 – September 15, 2018 Over the past nine years, a community of artists, writers, and musicians has coalesced around Institute 193. The relationships formed therein have resulted in the creation of new bodies of work and collaborative projects that will be shown, many for the first time, at the Elaine de Kooning house in East Hampton, New York this summer. The works will be installed throughout the home’s various rooms and accompanied by a series of Institute 193 publications. De Kooning, a gifted painter, critic, inspirational teacher and member of the Eighth Street Club in Greenwich Village was an integral part of the vibrant artistic scene of her time. The exhibition will explore both local and universal notions of community and demonstrate the profound effects that even a modest space dedicated to the exchange of ideas can instill upon a group of individual talents. Summer Studio: Institute 193 at the Elaine de Kooning House will feature works by Robert Beatty, Jessie Dunahoo, Mike Goodlett, Lonnie Holley, Shara Hughes, Guy Mendes, Adam O’Neal, Aaron Skolnick, Lina Tharsing, and Mare Vaccaro. In addition to the home exhibition, Institute 193 will install a large-scale environment by Jessie Dunahoo, an artist who passed away in May 2017, in the studio portion of the building. Deaf since birth, Dunahoo additionally lost his vision as a young man. Though no official record exists, it is thought that he attended the Kentucky School for the Blind for at least a couple of years later in life. Beyond this, the artist was largely left to his own devices. Living on a farm in the 30s and 40s did, however, have its advantages and afforded the artist opportunities to explore and manipulate outdoor space. Using dirt, brush, and other found debris, Dunahoo created various earth sculptures and paths on the land immediately surrounding the family’s house. Dunahoo also used various fences and trees to hang intersecting lines, ropes, and wires that could be grasped and threaded, creating a 3-D map he used to navigate outdoor space, a practice he has maintained throughout his life, despite becoming a client of social services and residing in state-operated group homes. In time, Dunahoo’s environments grew and evolved into complex sewn structures made of found materials, including grocery bags, fabric samples, pieces of old clothing and twine. Through an interpreter, Jessie described his works as shelters, and they were strung about his home and yard, covering the walls, floor, and ceiling. His work is in the collection of the American Folk Art Museum (NY). Elaine de Kooning House In 1975, Elaine de Kooning reconciled with Willem and purchased the house on Alewive Brook Road. She added the studio three years later and created her last important bodies of work — the Cave Walls and Cave Paintings (1985–88). She also painted the commissioned portrait of the Brazilian soccer player Pele and according to her assistant from that time, Barry Gordy’s portrait was completed in the studio as well as others. After her death, the sculptor John Chamberlain owned the house and studio, followed by the painter Richmond Burton. Since 2011, the Elaine de Kooning House has hosted exhibitions and informal residencies with the artists Charles Andresen, Aaron Aujla, Lizzi Bougatsos, Joe Bradley, Chris Duncan, Jonah Freeman and Justin Lowe, Kim "Mudman" Jones, Laura and Rachel Lancaster, Sadie Laska, Jose Lerma, Liz Markus, Adam Marnie, Katherine McMahon, Scott and Tyson Reeder, John Riepenhoff, Celeste Dupy-Spencer, Jerry “The Marble Faun” Torre, Michael Williams, and Anke Weyer. Press: Elaine de Kooning’s Old House is Art’s New Home by Edward M. Gómez, Hyperallergic, September 8, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553016309597-7HHUI2ZD4QWFFTFEHB4B/EDK11.jpg Off Site: Summer Studio - Installation View (Jessie Dunahoo)        Summer Studio The Elaine de Kooning House June 25 – September 15, 2018 Over the past nine years, a community of artists, writers, and musicians has coalesced around Institute 193. The relationships formed therein have resulted in the creation of new bodies of work and collaborative projects that will be shown, many for the first time, at the Elaine de Kooning house in East Hampton, New York this summer. The works will be installed throughout the home’s various rooms and accompanied by a series of Institute 193 publications. De Kooning, a gifted painter, critic, inspirational teacher and member of the Eighth Street Club in Greenwich Village was an integral part of the vibrant artistic scene of her time. The exhibition will explore both local and universal notions of community and demonstrate the profound effects that even a modest space dedicated to the exchange of ideas can instill upon a group of individual talents. Summer Studio: Institute 193 at the Elaine de Kooning House will feature works by Robert Beatty, Jessie Dunahoo, Mike Goodlett, Lonnie Holley, Shara Hughes, Guy Mendes, Adam O’Neal, Aaron Skolnick, Lina Tharsing, and Mare Vaccaro. In addition to the home exhibition, Institute 193 will install a large-scale environment by Jessie Dunahoo, an artist who passed away in May 2017, in the studio portion of the building. Deaf since birth, Dunahoo additionally lost his vision as a young man. Though no official record exists, it is thought that he attended the Kentucky School for the Blind for at least a couple of years later in life. Beyond this, the artist was largely left to his own devices. Living on a farm in the 30s and 40s did, however, have its advantages and afforded the artist opportunities to explore and manipulate outdoor space. Using dirt, brush, and other found debris, Dunahoo created various earth sculptures and paths on the land immediately surrounding the family’s house. Dunahoo also used various fences and trees to hang intersecting lines, ropes, and wires that could be grasped and threaded, creating a 3-D map he used to navigate outdoor space, a practice he has maintained throughout his life, despite becoming a client of social services and residing in state-operated group homes. In time, Dunahoo’s environments grew and evolved into complex sewn structures made of found materials, including grocery bags, fabric samples, pieces of old clothing and twine. Through an interpreter, Jessie described his works as shelters, and they were strung about his home and yard, covering the walls, floor, and ceiling. His work is in the collection of the American Folk Art Museum (NY). Elaine de Kooning House In 1975, Elaine de Kooning reconciled with Willem and purchased the house on Alewive Brook Road. She added the studio three years later and created her last important bodies of work — the Cave Walls and Cave Paintings (1985–88). She also painted the commissioned portrait of the Brazilian soccer player Pele and according to her assistant from that time, Barry Gordy’s portrait was completed in the studio as well as others. After her death, the sculptor John Chamberlain owned the house and studio, followed by the painter Richmond Burton. Since 2011, the Elaine de Kooning House has hosted exhibitions and informal residencies with the artists Charles Andresen, Aaron Aujla, Lizzi Bougatsos, Joe Bradley, Chris Duncan, Jonah Freeman and Justin Lowe, Kim "Mudman" Jones, Laura and Rachel Lancaster, Sadie Laska, Jose Lerma, Liz Markus, Adam Marnie, Katherine McMahon, Scott and Tyson Reeder, John Riepenhoff, Celeste Dupy-Spencer, Jerry “The Marble Faun” Torre, Michael Williams, and Anke Weyer. Press: Elaine de Kooning’s Old House is Art’s New Home by Edward M. Gómez, Hyperallergic, September 8, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553016305313-BKM1QR4ABLIDIYXSHNAM/EDK2.JPG Off Site: Summer Studio - Installation View (Adam O'Neal, left, Aaron Skolnick, right) https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553016306032-1SA9S8HQPJEFHPJ4SNPJ/EDK3.jpg Off Site: Summer Studio - Installation View (Institute 193 ephemera, left, Lonnie Holley, right) https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553016306145-F5TCIJXKVTNCOLLRW8BY/EDK4.JPG Off Site: Summer Studio - Installation View (Lina Tharsing, left, Robert Beatty, right) https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553016307100-9NUFZSCV9UQG2HEV0R01/EDK5.jpg Off Site: Summer Studio - Installation View (Shara Hughes)      https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553016307082-8OKCH52YZNSWZR7735O6/EDK6.jpg Off Site: Summer Studio - Installation View (Lina Tharsing) https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553016308087-3YJBZJQEM24OFZO1K3O1/EDK7.jpg Off Site: Summer Studio - Installation View (Robert Beatty) https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553016308199-L8Z4UEIEB713REDJTUC8/EDK8.JPG Off Site: Summer Studio - Installation View (Mike Goodlett) https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553016308796-UUMFAOX4FQ7WGQQ1R9J6/EDK9.JPG Off Site: Summer Studio - Installation View (Mike Goodlett, left, Mare Vacarro, right) https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553016305371-C3JE0I14FI1F2YBGQLI8/EDK1.JPG Off Site: Summer Studio - Installation View (Jessie Dunahoo) https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553016309043-7PCOBOBVAP83XXU57Z17/EDK10.JPG Off Site: Summer Studio - Installation View (Jessie Dunahoo) https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553016309471-OC285WE0QDH02KY7VVT4/EDK12.jpeg Off Site: Summer Studio - Guy Mendes, Marble Creek Nude, 1998, gelatin silver print, 16 X 20 in.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553016310405-I2U18H68L8DC2MN7OUHV/EDK13.jpg Off Site: Summer Studio - Adam O’Neal, VOL. 130, NO. 5 - VOL. 150, NO. 2, 2015, collaged paper, 19 x 14.5 in. https://www.institute193.org/off-site-swimming-them-homeward daily 0.75 2020-02-22 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553017231604-GSHMJLNU3AZGT2SOXBMU/ACInstallationView1.jpg Off Site: Swimming Them Homeward - Installation View Swimming Them Homeward Atlanta Contemporary March 2, 2017 – April 30, 2017 “How green green and summer church bell Is this poisoned meadow, where the heifers Swing, swing, their poisoned udders And slowly walk towards their poisoned well” Excerpt from ‘Pastoral’ ― James Baker Hall Swimming Them Homeward, is a survey of artists from Lexington, Kentucky featuring works by Charles Williams, Louis Zoellar Bickett, Robert Morgan, Mike Goodlett, Guy Mendes, James Baker Hall, Mare Vaccaro, Lina Tharsing, and Robert Beatty. Lexington’s art community is extraordinarily prolific and interconnected, but artists from here are rarely shown outside of regional art centers. This relative seclusion has led to the development of a geographically specific style that is seen today and can be traced back at least to the early ‘70s. Anxious, baroque forms and compulsive tendencies of collecting or producing objects define these artists’ practice. The relationships between these artists extend beyond theme and tendency and also, perhaps most importantly, take place in the real world. They collect each other’s work and have maintained long term friendships. Four of the artists included in this exhibition have structured their entire homes as works of art. The first, Charles Williams, filled his yard and home with bizarre structures that were both utilitarian and ornamental. Bulbous lamps and molten pencil holders were scattered among painted plywood cutouts of cartoon characters and ersatz machines meant to bend time and space. Robert Morgan and Louis Zoellar Bickett, both of whom knew Williams, furthered this approach to living and making with very different end results. Bickett is a meticulous cataloguer of the world around him and has, over the last forty or so years, created an immense, impenetrable record of his life in his home, dubbed The Archive. Morgan on the other hand, has arranged found objects and detritus into lush and gaudy assemblages, sculptures, and installations that populate his maze like living space. Mike Goodlett’s home on the outskirts of town is spartan by comparison, a chasm of light and shadow populated almost exclusively by his voluptuous sculptures and drawings, and a few sculptures by both Morgan and Williams. The remaining artists in the show have engaged with this lineage directly. Lina Tharsing grew up around Bickett and Morgan and is a close friend of Goodlett’s. Robert Beatty’s work engages directly with Goodlett’s fluid, strange forms. James Baker Hall and Guy Mendes have photographed and documented nearly all the participants, developing close personal relationships with many of them. In keeping with the dense relationships, both biographical and thematic, that connect these artists to one another, we will be creating an interior domestic space mirroring the aesthetic that has been developed in Lexington over the last 50 years. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553017231604-GSHMJLNU3AZGT2SOXBMU/ACInstallationView1.jpg Off Site: Swimming Them Homeward - Installation View Swimming Them Homeward Atlanta Contemporary March 2, 2017 – April 30, 2017 “How green green and summer church bell Is this poisoned meadow, where the heifers Swing, swing, their poisoned udders And slowly walk towards their poisoned well” Excerpt from ‘Pastoral’ ― James Baker Hall Swimming Them Homeward, is a survey of artists from Lexington, Kentucky featuring works by Charles Williams, Louis Zoellar Bickett, Robert Morgan, Mike Goodlett, Guy Mendes, James Baker Hall, Mare Vaccaro, Lina Tharsing, and Robert Beatty. Lexington’s art community is extraordinarily prolific and interconnected, but artists from here are rarely shown outside of regional art centers. This relative seclusion has led to the development of a geographically specific style that is seen today and can be traced back at least to the early ‘70s. Anxious, baroque forms and compulsive tendencies of collecting or producing objects define these artists’ practice. The relationships between these artists extend beyond theme and tendency and also, perhaps most importantly, take place in the real world. They collect each other’s work and have maintained long term friendships. Four of the artists included in this exhibition have structured their entire homes as works of art. The first, Charles Williams, filled his yard and home with bizarre structures that were both utilitarian and ornamental. Bulbous lamps and molten pencil holders were scattered among painted plywood cutouts of cartoon characters and ersatz machines meant to bend time and space. Robert Morgan and Louis Zoellar Bickett, both of whom knew Williams, furthered this approach to living and making with very different end results. Bickett is a meticulous cataloguer of the world around him and has, over the last forty or so years, created an immense, impenetrable record of his life in his home, dubbed The Archive. Morgan on the other hand, has arranged found objects and detritus into lush and gaudy assemblages, sculptures, and installations that populate his maze like living space. Mike Goodlett’s home on the outskirts of town is spartan by comparison, a chasm of light and shadow populated almost exclusively by his voluptuous sculptures and drawings, and a few sculptures by both Morgan and Williams. The remaining artists in the show have engaged with this lineage directly. Lina Tharsing grew up around Bickett and Morgan and is a close friend of Goodlett’s. Robert Beatty’s work engages directly with Goodlett’s fluid, strange forms. James Baker Hall and Guy Mendes have photographed and documented nearly all the participants, developing close personal relationships with many of them. In keeping with the dense relationships, both biographical and thematic, that connect these artists to one another, we will be creating an interior domestic space mirroring the aesthetic that has been developed in Lexington over the last 50 years. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553017231770-I2DYJS61DPTX4QKQ0L20/ACInstallationView2.jpg Off Site: Swimming Them Homeward - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553017232602-IC4BC9F9GPA8IOLLZGTQ/ACInstallationView3.jpg Off Site: Swimming Them Homeward - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553017232719-NRCT3EKU4UMQ6NN46XBS/ACInstallationView4.jpg Off Site: Swimming Them Homeward - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553017233110-5QHLUPZZ5OT5RF0WC5ST/ACInstallationView5.jpg Off Site: Swimming Them Homeward - Installation View https://www.institute193.org/exhibitions-wihro-kim-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553371969614-D2M6UEUIKBP4K8251KE7/b19a67b252c4bf80-wihro.jpg Exhibitions: Wihro Kim KY - Wihro Kim, New Life Here We Come, 2018, oil on canvas, 50 x 70 inches Wihro Kim Memorandumland March 23 - April 27 Opening Reception: March 23, 6 - 8 PM In his paintings, Wihro Kim captures two worlds, the observable and the imagined, as interwoven realities in the same line of vision. By collapsing the contours between interiors and exteriors, dreams and realities, objects and the negative spaces in between, Kim's paintings traverse multiple visual planes, combining them into a single parcel rather than discrete parts. By blending melancholic interiors with hazy landscapes, Kim imbues the uncanniness of the familiar with the expansive splendor of nature. His brushwork is scattered and abstract. Objects in his paintings are obfuscated, set behind screens, or fragmented. Kim collapses separate spaces and timelines, opening up portals on a single surface encouraging the viewer's perception of the work towards an experience not unlike lucid dreaming or lazily sifting through distant memories. At Institute 193, Kim will be departing from working on individual contained paintings in favor of a site-specific installation that involves paintings and objects. In combining multiple canvases with three-dimensional objects and other assemblage elements, Kim aims to create a more immersive and unified visual and spatial experience that will grapple with concepts of time, perception, and memory. Wihro Kim is an artist based in Atlanta, GA, where he received his BFA from Georgia State University in 2015. Kim has been exhibited locally at MOCA GA, Poem 88, and Hathaway Contemporary among other locations. He was a Hughely Fellow for the 2016-17 cycle and a finalist for the Forward Arts Foundation's Edge Award in 2018. He will be participating in a group exhibition at the High Museum in Atlanta this summer. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553371969614-D2M6UEUIKBP4K8251KE7/b19a67b252c4bf80-wihro.jpg Exhibitions: Wihro Kim KY - Wihro Kim, New Life Here We Come, 2018, oil on canvas, 50 x 70 inches Wihro Kim Memorandumland March 23 - April 27 Opening Reception: March 23, 6 - 8 PM In his paintings, Wihro Kim captures two worlds, the observable and the imagined, as interwoven realities in the same line of vision. By collapsing the contours between interiors and exteriors, dreams and realities, objects and the negative spaces in between, Kim's paintings traverse multiple visual planes, combining them into a single parcel rather than discrete parts. By blending melancholic interiors with hazy landscapes, Kim imbues the uncanniness of the familiar with the expansive splendor of nature. His brushwork is scattered and abstract. Objects in his paintings are obfuscated, set behind screens, or fragmented. Kim collapses separate spaces and timelines, opening up portals on a single surface encouraging the viewer's perception of the work towards an experience not unlike lucid dreaming or lazily sifting through distant memories. At Institute 193, Kim will be departing from working on individual contained paintings in favor of a site-specific installation that involves paintings and objects. In combining multiple canvases with three-dimensional objects and other assemblage elements, Kim aims to create a more immersive and unified visual and spatial experience that will grapple with concepts of time, perception, and memory. Wihro Kim is an artist based in Atlanta, GA, where he received his BFA from Georgia State University in 2015. Kim has been exhibited locally at MOCA GA, Poem 88, and Hathaway Contemporary among other locations. He was a Hughely Fellow for the 2016-17 cycle and a finalist for the Forward Arts Foundation's Edge Award in 2018. He will be participating in a group exhibition at the High Museum in Atlanta this summer. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553968541418-B9KF7QDN9SZFVHTCVIAT/235WK.JPG Exhibitions: Wihro Kim KY - Wihro Kim, A Potential Memory, oil on canvas, 48 x 60 inches Wihro Kim Memorandumland March 23 – April 27, 2019 Institute 193, Lexington In his paintings, Wihro Kim captures two worlds, the observable and the imagined, as interwoven realities in the same line of vision. By collapsing the contours between interiors and exteriors, dreams and realities, objects and the negative spaces in between, Kim’s paintings traverse multiple visual planes, combining them into a single parcel rather than discrete parts. By blending melancholic interiors with hazy scents of landscapes, Kim imbues the uncanniness of the familiar with the expansive splendor of nature. His brushwork is scattered and abstract. Objects in his paintings are obfuscated, set behind screens, or fragmented. Kim collapses separate spaces and timelines, opening up multiple portals on a single surface encouraging the viewer's perception of the work towards an experience not unlike lucid dreaming or lazily sifting through distant memories. At Institute 193, Kim will be departing from working on individual, contained paintings in favor of a site-specific installation that involves paintings and objects. In combining multiple canvases with three-dimensional objects and other assemblage elements, Kim aims to create a more immersive and unified visual and spatial experience that will grapple with concepts of time, perception, and memory. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553968517644-DJJKH14IBDH377QDL7H2/226WK.JPG Exhibitions: Wihro Kim KY - Wihro Kim, Untitled, oil on panel, 8 x 8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553968531313-HHXMMWBWA9WTYKZCWDDB/233WK.JPG Exhibitions: Wihro Kim KY - Wihro Kim, Becoming lost in the flowers, oil on panel, 10 x 10 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553968907564-DREHPS6PU7BO0XRAOMAT/220WK.JPG Exhibitions: Wihro Kim KY - Wihro Kim, Untitled, oil and sumi ink on canvas, 72 x 40 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553968549328-Q50DEVY00BWT47EI0LUQ/224WK.JPG Exhibitions: Wihro Kim KY - Wihro Kim, Untitled, oil and clay on panel, 8 x 8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553968833866-1F4Z4FDSD7GMBTH9NCFI/221WK.JPG Exhibitions: Wihro Kim KY - Wihro Kim, Untitled, oil on canvas over panel, 24 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553968487652-G3WKBME4AJZ3A6RL09MD/WKinstall6.jpg Exhibitions: Wihro Kim KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555180141800-F71UIRG8O9VYFTE20FNQ/WKinstall8+copy.jpg Exhibitions: Wihro Kim KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557590554999-BY3M2PFM9GMG31QRP1W8/WKinstall7.jpg Exhibitions: Wihro Kim KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557590529312-T5P8SOHHMHO0EBO118CC/WKinstall5.jpg Exhibitions: Wihro Kim KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553969123354-KWQ5FN0U1M6SCPEEF9KX/WKinstall2.jpg Exhibitions: Wihro Kim KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553969081378-TFW20NNVQAXMB4YS56OF/WKinstall4.jpg Exhibitions: Wihro Kim KY - Installation View https://www.institute193.org/exhibitions-jonathan-williams-ny daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553362675821-QFM0WYZUDQWHC368I8AZ/1215991.jpg Exhibitions: Jonathan Williams NY - Jonathan Williams, Erect, n.d., Polaroid photograph, 3.1 x 3 inches Jonathan Williams Poems and Polaroids March 9 – April 14, 2019 Institute 193 (1B), New York Jonathan Williams spent his life finding things: words, images, people, places, and for our immediate purposes, photographs and poems. The Canadian literary critic Hugh Kenner described Jonathan Williams as the “truffle hound of American poetry,” undoubtedly for his ability to find and publish the works of lesser-known talents under his Jargon Society imprint. But he also found many of his own poems, in signs and conversation, along the highways of America, and in his own backyard. Guy Davenport likened Williams’s employ of “found language” to the use of “found footage” by avant-garde filmmakers and Buckminster Fuller once called Williams “our Johnny Appleseed.” Williams for his part explained his fascination of such material in simpler terms: “Well, as you know, a lot of my poetry is found and that’s, I think, because I think I’m quite a good listener and I’m willing to lay back and listen, and I think it’s something do with living in the country… I like to hear things, so if you listen carefully then you do find things. I do it all the time…That’s the thing I love about found material, you wake it up, you ‘make’ it into something.” Beginning in 1984, Jonathan Williams undertook a series of road trips in the company of Guy Mendes and Roger Manley, to document “what tickled us, what moved us, and what (sometimes) appalled us in the Southeastern United States.” The writings and photographs made during and inspired by those trips have just been released in Walks to the Paradise Garden (Institute 193, 2018). While exploring the depths of Southern culture, Williams found inspiration in dozens of signs, maps, and other roadside attractions, many of which became fodder for his visual poems. This exhibition presents those poems, lovingly updated by Ethan Fedele, alongside Williams’s Polaroids which are often concrete evidence of his inspiration. Poems and Polaroids coincides with the release of Walks to the Paradise Garden and an exhibition inspired by the book, on view from March 2 at the High Museum of Art (Atlanta) titled Way Out There: The Art of Southern Backroads. Jonathan Chamberlain Williams was born in Asheville, North Carolina, on March 8, 1929, the only child of Thomas and Georgette Chamberlain Williams. Williams spent most of his youth in Washington DC and later attended Princeton University but dropped out after his freshman year to independently study painting, etching, photography and book design. In 1951 he went to Black Mountain College and along with David Ruff, founded The Jargon Society with the goal of publishing obscure writers. From 1951 to present, the publisher has created a total of 116 books featuring the works of Robert Rauschenberg, Ralph Eugene Meatyard, Paul Metcalf, Charles Olson, Doris Ullman, and many others. This exhibition is in conjunction with the release of Walks to the Paradise Garden. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553362675821-QFM0WYZUDQWHC368I8AZ/1215991.jpg Exhibitions: Jonathan Williams NY - Jonathan Williams, Erect, n.d., Polaroid photograph, 3.1 x 3 inches Jonathan Williams Poems and Polaroids March 9 – April 14, 2019 Institute 193 (1B), New York Jonathan Williams spent his life finding things: words, images, people, places, and for our immediate purposes, photographs and poems. The Canadian literary critic Hugh Kenner described Jonathan Williams as the “truffle hound of American poetry,” undoubtedly for his ability to find and publish the works of lesser-known talents under his Jargon Society imprint. But he also found many of his own poems, in signs and conversation, along the highways of America, and in his own backyard. Guy Davenport likened Williams’s employ of “found language” to the use of “found footage” by avant-garde filmmakers and Buckminster Fuller once called Williams “our Johnny Appleseed.” Williams for his part explained his fascination of such material in simpler terms: “Well, as you know, a lot of my poetry is found and that’s, I think, because I think I’m quite a good listener and I’m willing to lay back and listen, and I think it’s something do with living in the country… I like to hear things, so if you listen carefully then you do find things. I do it all the time…That’s the thing I love about found material, you wake it up, you ‘make’ it into something.” Beginning in 1984, Jonathan Williams undertook a series of road trips in the company of Guy Mendes and Roger Manley, to document “what tickled us, what moved us, and what (sometimes) appalled us in the Southeastern United States.” The writings and photographs made during and inspired by those trips have just been released in Walks to the Paradise Garden (Institute 193, 2018). While exploring the depths of Southern culture, Williams found inspiration in dozens of signs, maps, and other roadside attractions, many of which became fodder for his visual poems. This exhibition presents those poems, lovingly updated by Ethan Fedele, alongside Williams’s Polaroids which are often concrete evidence of his inspiration. Poems and Polaroids coincides with the release of Walks to the Paradise Garden and an exhibition inspired by the book, on view from March 2 at the High Museum of Art (Atlanta) titled Way Out There: The Art of Southern Backroads. Jonathan Chamberlain Williams was born in Asheville, North Carolina, on March 8, 1929, the only child of Thomas and Georgette Chamberlain Williams. Williams spent most of his youth in Washington DC and later attended Princeton University but dropped out after his freshman year to independently study painting, etching, photography and book design. In 1951 he went to Black Mountain College and along with David Ruff, founded The Jargon Society with the goal of publishing obscure writers. From 1951 to present, the publisher has created a total of 116 books featuring the works of Robert Rauschenberg, Ralph Eugene Meatyard, Paul Metcalf, Charles Olson, Doris Ullman, and many others. This exhibition is in conjunction with the release of Walks to the Paradise Garden. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553362756464-A0QTQNJOXDJ6RSE6KTKE/1217595.jpg Exhibitions: Jonathan Williams NY - Jonathan Williams, Kentucky Doll Baby (made by Martha Nelson), n.d., Polaroid photograph, 3.1 x 3 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553363506869-HSMNFPPJ3XBMIZMU0L0U/1333875.jpg Exhibitions: Jonathan Williams NY - Jonathan Williams, Signs for Whynot, ca. 1984, Polaroid photograph, 3.1 x 3 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553363539712-D2E6UVHBZD689JDZRJA3/1333877.jpg Exhibitions: Jonathan Williams NY - Jonathan Williams, Sign for the Rainbow Club, ca. 1984, Polaroid photograph, 3.1 x 3 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553363405425-PIB1KQG60F54LOTKK9ML/1333774.jpg Exhibitions: Jonathan Williams NY - Jonathan Williams, Enoch Tanner Sculpture, ca. 1988, Polaroid photograph, 3.1 x 3 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553362981434-SIXPN675TT08E0FN8720/1333613.jpg Exhibitions: Jonathan Williams NY - Jonathan Williams, Untitled, n.d., Polaroid photograph, 3.1 x 3 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553362868724-ETLIQS9AOI6B9E81I8XG/1333521.jpg Exhibitions: Jonathan Williams NY - Jonathan Williams, Ralph Griffin Sculpture, ca. 1987, Polaroid photograph, 3.1 x 3 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553362029734-1O1QZSMVMVE2L03PDKS1/_DSC2390.jpg Exhibitions: Jonathan Williams NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553360993606-Y1F8S9L96AW17OFZK8CO/_DSC2390.png Exhibitions: Jonathan Williams NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553361214665-NPRG5MLCZ9GMZFVSIENG/_DSC2400.jpg Exhibitions: Jonathan Williams NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553361492280-P5E0XFEPJG39MGXXTI1K/_DSC2406.jpg Exhibitions: Jonathan Williams NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553361809717-I964PL5TBHTXHZB3EENH/_DSC2407.jpg Exhibitions: Jonathan Williams NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553361391962-ZH6N3UVWDENICKYCF6SI/_DSC2401.jpg Exhibitions: Jonathan Williams NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553361418688-SM21Z3JDCMN05FBTB0ZO/_DSC2403.jpg Exhibitions: Jonathan Williams NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553361464643-9M96Y82YGCYVOWCG9IAF/_DSC2404.jpg Exhibitions: Jonathan Williams NY - Installation View https://www.institute193.org/exhibitions-edward-melcarth-ky daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555186537313-EWN2C5J8G8IXCM0FPKWY/DSC_0433.jpg Exhibitions: Edward Melcarth KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555188112669-70IW1SG74CXDHK5Q7DIZ/DSC_0433.jpg Exhibitions: Edward Melcarth KY - Edward Melcarth, Man Leaning On Windowsill, oil on canvas, 20 x 16 inches Edward Melcarth Rough Trade January 13 – February 17, 2018 Institute 193, Lexington Edward Melcarth (1914–1972, born Louisville, Kentucky) was an American painter known primarily for his sensitive, emotional, and often heroic portrayal of the male figure. Melcarth’s subjects were blue collar workers, hustlers, addicts, and trade with whom he had intimate relationships. These men also frequently make appearances in work by other gay artists who were living and working in New York at the same time, namely Henry Faulkner of Lexington, Kentucky, and photographer and archivist Thomas Painter. Despite showing widely and prominently in the 1940s (his work is included in the collections of The MoMA, the Smithsonian, and the Metropolitan Museum of Art) Melcarth has since faded into relative obscurity. Melcarth’s portrayal of working class and otherwise down-and-out men who read as straight, and often defined themselves as such despite having sex with other men, and his often glorified or romantic treatment of their image, served dual function in the historical context of their making. For straight viewers of the work, the paintings become quintessential images of the American workforce where grit, brute strength, and the ability to wade through difficulty, especially economic, is rewarded and mythologized. For gay men, and for Melcarth himself, the images served as a vehicle to examine socially unacceptable desire in relative safety. For both groups, a one-way mirror is constructed, allowing for a selective understanding of the work, dependent on point of view. However, Melcarth was uniquely situated and deeply conscious of these perspectives. He was a militant communist with radical views on how the working class should be organized and treated, as well as a largely out-of-the-closet homosexual, and was closely monitored by the FBI as a result of both. As noted in Erin Griffey and Barry Reay’s article about the artist, entitled, “Sexual Portraits: Edward Melcarth and Homoeroticism in Modern American Art,” Thomas Painter speculates that Melcarth's lack of relative commercial and critical success compared to similar artists working concurrently was largely due to his Jewish background, militant communism, and open homosexuality. Despite this, Melcarth remains an influential and foundational figure in early twentieth century gay American art. A reconsideration of his work, legacy, and contributions are long overdue, and the themes explored in his work remain pertinent to contemporary concerns. All artworks courtesy of the Forbes Collection, New York, on loan to the Faulkner Morgan Pagan Babies Archive. Special thanks to Dr. Jonathan Coleman. This exhibition is presented in collaboration with Edward Melcarth: Points of View at the UK Art Museum. Press: Illuminating the Underrepresented: Presenting Edward Melcarth by Hunter Kissel, UnderMain, February 13, 2018 Rediscovering Edward Melcarth, a Gay, Communist Visionary by Edward M. Gómez, Hyperallergic, February 10, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555186537313-EWN2C5J8G8IXCM0FPKWY/DSC_0433.jpg Exhibitions: Edward Melcarth KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555182108251-N9P5PX5GYQ9KVBDDZUF4/DSC_0426.jpg Exhibitions: Edward Melcarth KY - Edward Melcarth, Medium Male Portrait, oil on canvas, 36 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555182081666-40W8BWPSLUSA1CC0KTLD/DSC_0429.jpg Exhibitions: Edward Melcarth KY - Edward Melcarth, The Hanging, oil on canvas, 17 x 13 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555185520854-1R9NC3C1GU21TBCRPLYM/DSC_0422.jpg Exhibitions: Edward Melcarth KY - Edward Melcarth, Blond Man with Blue and Green Shirts, oil on canvas, 18 x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555182216660-DEH4BPIWKBEZVE8OBJJ4/DSC_0423.jpg Exhibitions: Edward Melcarth KY - Edward Melcarth, Blond Youth with Brown Jacket, oil on canvas, 22 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555182098853-0REFK3PVQJZD5NDF13U3/DSC_0427.jpg Exhibitions: Edward Melcarth KY - Edward Melcarth, Portrait of Blond Youth in Turquoise Jacket, oil on canvas, 20 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555182148848-26Z8WJ1QTRQSYC68AIHV/DSC_0425.jpg Exhibitions: Edward Melcarth KY - Edward Melcarth, Male Portrait Dark Hair, oil on canvas, 13 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555182236070-ZQZ6DOVJUNN9QXG2XZEO/DSC_0418.jpg Exhibitions: Edward Melcarth KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555182183191-6YM3ZANSI6HSIM42PG8P/DSC_0424.jpg Exhibitions: Edward Melcarth KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555182218876-F1R08I32MOGQ85KZV09Q/DSC_0428.jpg Exhibitions: Edward Melcarth KY - Installation View https://www.institute193.org/exhibitions-byron-smith-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555697635450-JECEOJLFNDPEN1LJNDNM/BS048+Byron+Smith%2C+Untitled%2C+2017%2C+Pencil+on+paper%2C+14%2522x17%2522.jpg Exhibitions: Byron Smith KY - Byron Smith, Untitled, 2017, pencil on paper, 14 x 17 inches Byron Smith Cover Girls February 22 – March 31, 2018 Institute 193, Lexington Diana Ross looks coolly over her shoulder, a breeze moving gently through her hair. Staring outward from a field of dense black, Isabella Rossellini, gazes affably at some beautiful something in the middle distance. Cher and Tina Turner turn their attention straight out, beaming, standing shoulder to shoulder. These images, taken from magazines, album covers, and tabloids, are reconsidered in highly stylized drawings by Byron Smith, with the end result, rendered in simple line and flat blocks of color, alternately charming, graceful, and comedic. Smith (b. 1963), originally from North Carolina, and now residing in Brooklyn, has worked with a number of subjects. Early drawings included objects from his surrounding environment, especially shoes and flowers, which quickly gave way to an interest in gorillas and robots, before moving to his current fixation on fashion-forward women. Smith is highly selective in regards to the images he works from. Often, the women he chooses to depict are unabashedly happy, smiling and looking directly at the viewer. He also gravitates towards images of female kinship and friendly affection; Thelma and Louise, Edina and Patsy from the TV series Absolutely Fabulous, pairs of synchronized swimmers, and groups of women dressed in beach attire have all been depicted tenderly and with a deep display of platonic intimacy. The women are depicted elegantly. Fingernails and eyelashes are exaggerated. Lips are painted a vibrant red. Their silhouettes are drawn, erased, and redrawn with long, deliberate strokes. They are poised, graceful figures, instantly recognizable despite an economic use of line and shape. A thread of sincerity runs through all of Smith’s work, a kind impulse that seems to drive his work, aid in the choice of his subjects, and inform the way that he reinterprets their image. Press: Byron Smith: Cover Girls at Institute 193 by Tim Ortiz, Disparate Minds, March 21, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555697635450-JECEOJLFNDPEN1LJNDNM/BS048+Byron+Smith%2C+Untitled%2C+2017%2C+Pencil+on+paper%2C+14%2522x17%2522.jpg Exhibitions: Byron Smith KY - Byron Smith, Untitled, 2017, pencil on paper, 14 x 17 inches Byron Smith Cover Girls February 22 – March 31, 2018 Institute 193, Lexington Diana Ross looks coolly over her shoulder, a breeze moving gently through her hair. Staring outward from a field of dense black, Isabella Rossellini, gazes affably at some beautiful something in the middle distance. Cher and Tina Turner turn their attention straight out, beaming, standing shoulder to shoulder. These images, taken from magazines, album covers, and tabloids, are reconsidered in highly stylized drawings by Byron Smith, with the end result, rendered in simple line and flat blocks of color, alternately charming, graceful, and comedic. Smith (b. 1963), originally from North Carolina, and now residing in Brooklyn, has worked with a number of subjects. Early drawings included objects from his surrounding environment, especially shoes and flowers, which quickly gave way to an interest in gorillas and robots, before moving to his current fixation on fashion-forward women. Smith is highly selective in regards to the images he works from. Often, the women he chooses to depict are unabashedly happy, smiling and looking directly at the viewer. He also gravitates towards images of female kinship and friendly affection; Thelma and Louise, Edina and Patsy from the TV series Absolutely Fabulous, pairs of synchronized swimmers, and groups of women dressed in beach attire have all been depicted tenderly and with a deep display of platonic intimacy. The women are depicted elegantly. Fingernails and eyelashes are exaggerated. Lips are painted a vibrant red. Their silhouettes are drawn, erased, and redrawn with long, deliberate strokes. They are poised, graceful figures, instantly recognizable despite an economic use of line and shape. A thread of sincerity runs through all of Smith’s work, a kind impulse that seems to drive his work, aid in the choice of his subjects, and inform the way that he reinterprets their image. Press: Byron Smith: Cover Girls at Institute 193 by Tim Ortiz, Disparate Minds, March 21, 2018 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555698021356-YH38SG61H9Z3XHER02E4/BS045+Byron+Smith%2C+Untitled%2C+2015%2C+Mixed+Media+on+Paper%2C15%E2%80%9Dx22%E2%80%9D.png Exhibitions: Byron Smith KY - Byron Smith, Untitled, 2015, mixed media, 15 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555698220714-QERNTICMPLEL0XCT1WH8/BS049+Cropped+Byron+Smith%2C+Diana+Ross%2C+2017%2C+Pencil+on+paper%2C+14%2522x17%2522+%281%29.jpg Exhibitions: Byron Smith KY - Byron Smith, Diana Ross, 2017, pencil on paper, 14 x 17 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555698425142-VKPB7XD23AXK93C08LHP/BS050+Byron+Smith%2C+Untitled%2C+2015%2C+Ink+on+Paper%2C+20%2522x13%2522.jpg Exhibitions: Byron Smith KY - Byron Smith, Untitled, 2015, ink on paper, 20 x 13 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555697835861-QEL77UJAEARII7O2ALIS/BS066+Byron+Smith%2C+Untitled%2C+2016%2C+Ink+on+paper%2C+30%2522x22.5%2522.jpg Exhibitions: Byron Smith KY - Byron Smith, Untitled, 2016, ink on paper, 30 x 22.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554054280896-F6N9RF02L64X3UJ54VA1/BSInstall6.jpg Exhibitions: Byron Smith KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555172829267-DLAFEVI1YQTJ3VO6E83G/BSINSTALL2.jpg Exhibitions: Byron Smith KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555172835889-I06KP9IGGN7C2VOLPS6N/BSINSTALL1.jpg Exhibitions: Byron Smith KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555172838806-I3GM6BAHHLCUDAQ8RFTQ/BSINSTALL3.jpg Exhibitions: Byron Smith KY - Installation View https://www.institute193.org/exhibitions-roger-manley-guy-mendes-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553977458780-2UJO6BFG2TEM4C9WQCEM/GM_New+Orleans%2C+LA%2C+1980.jpg Exhibitions: Roger Manley & Guy Mendes KY - Guy Mendes, Don't Even Think About It (New Orleans, LA), 1988, silver gelatin print, 6.5 x 9.5 inches Roger Manley and Guy Mendes Miscellaneous February 13 – March 16, 2019 Institute 193, Lexington Envisioned as an additional chapter to Institute 193’s forthcoming publication Walks to the Paradise Garden, Miscellaneous provides a very peculiar look at the American South through the roadside photographs of Roger Manley and Guy Mendes. Taken during a series of meandering road trips in the 1980s, the exhibition features the South’s endemic popular poetry written, painted, and scrawled on storefronts, buildings, and signs. NOT FOR RENT DON’T ASK is haphazardly spray-painted multiple times across the side of an abandoned home in Jessamine County, Kentucky. Across the state, in Pike County, a lone sign states simply: GUNS. In Athens, Georgia a liquor store’s signboard advertises a DRIVE-THRU WIDOW, and on a somewhat related note, a small metal yard-sign in rural South Carolina proclaims simply: SLOW DEATH. Miscellaneous is presented simultaneously with the release of Walks to the Paradise Garden: A Lowdown Southern Odyssey by Jonathan Williams, Roger Manley, and Guy Mendes and alongside an accompanying exhibition at the High Museum of Art (Atlanta) titled Way Out There: The Art of Southern Backroads (March 2–May 19, 2019). https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553977458780-2UJO6BFG2TEM4C9WQCEM/GM_New+Orleans%2C+LA%2C+1980.jpg Exhibitions: Roger Manley & Guy Mendes KY - Guy Mendes, Don't Even Think About It (New Orleans, LA), 1988, silver gelatin print, 6.5 x 9.5 inches Roger Manley and Guy Mendes Miscellaneous February 13 – March 16, 2019 Institute 193, Lexington Envisioned as an additional chapter to Institute 193’s forthcoming publication Walks to the Paradise Garden, Miscellaneous provides a very peculiar look at the American South through the roadside photographs of Roger Manley and Guy Mendes. Taken during a series of meandering road trips in the 1980s, the exhibition features the South’s endemic popular poetry written, painted, and scrawled on storefronts, buildings, and signs. NOT FOR RENT DON’T ASK is haphazardly spray-painted multiple times across the side of an abandoned home in Jessamine County, Kentucky. Across the state, in Pike County, a lone sign states simply: GUNS. In Athens, Georgia a liquor store’s signboard advertises a DRIVE-THRU WIDOW, and on a somewhat related note, a small metal yard-sign in rural South Carolina proclaims simply: SLOW DEATH. Miscellaneous is presented simultaneously with the release of Walks to the Paradise Garden: A Lowdown Southern Odyssey by Jonathan Williams, Roger Manley, and Guy Mendes and alongside an accompanying exhibition at the High Museum of Art (Atlanta) titled Way Out There: The Art of Southern Backroads (March 2–May 19, 2019). https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553977559130-22N1W89SLN13QS1BYK3L/RM_SlowDeath.jpg Exhibitions: Roger Manley & Guy Mendes KY - Roger Manley, Untitled (Society Hill, SC), ca. 1979, silver gelatin print, 6.25 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553977793616-G6V4DFLOS234S8DNQALM/GM_Jessamine+County+Real+Estate%2C+1982.jpg Exhibitions: Roger Manley & Guy Mendes KY - Guy Mendes, Jessamine County Real Estate (Jessamine County, KY), 1986, silver gelatin print, 6.5 x 9.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553977613922-1ILRYNU0AIODAKCNERJZ/RM_+Untitled%2C+Mrs.+Marks.jpg Exhibitions: Roger Manley & Guy Mendes KY - Roger Manley, Untitled (Halifax, NC), ca. 1982, silver gelatin print, 5.25 x 8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555181315664-TFELXPFSSXG9J87XOTAD/218GM_RM.jpg Exhibitions: Roger Manley & Guy Mendes KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553978665467-7ANH29UWRKXK8ERCCR3X/212GM_RM.jpg Exhibitions: Roger Manley & Guy Mendes KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557590310906-GTPOJ1TXX07JVNQNF06W/ManleyInstall1.jpg Exhibitions: Roger Manley & Guy Mendes KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557590375757-QONE95ZZC7GJGJBF4ZOD/ManleyInstall2.jpg Exhibitions: Roger Manley & Guy Mendes KY - Installation View https://www.institute193.org/exhibitions-jill-frank-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554068164549-X1O0Q8IDDYC3LAF0DVTV/frank3.jpeg Exhibitions: Jill Frank KY - Jill Frank, Untitled, 2016, digital photograph Jill Frank everyone who woke up at the yellow house November 3 – December 9, 2017 Institute 193, Lexington Evening fell, ambiguous autumn evening: The beauties, dreamers who leaned on our arms, Whispered soft words, so deceptive, such charms, That our souls were left quivering and singing. — from “The Innocents” by Paul Verlaine, translated by A.S. Kline Jill Frank’s photographs preserve spaces, situations, and bodies in transition. Her subjects are caught in the awkward space between adolescence and adulthood, intoxication and sobriety, and are housed in suburbs, a similarly in-between geography straddling urban and rural, wealthy and not. They are photographed during or immediately after moments of what the artist describes as “social performances,” where selfhood is projected, negotiated, and compromised in service of an audience of peers. In the case of her series everyone who woke up at yellow house, the morning after a house party is documented vis-à-vis its effects on the bodies of those in attendance. The large portraits on view depict successive moments on opposing sides of a single frame that were taken split seconds apart, but present entirely different images, a visual cue that a single photograph isn’t capable of encapsulating the mercurial identities of these young participants. Garments are draped lazily over tired flesh, makeup runs, skin is blotched, bloated, and marked by acts of love and violence. A related series also on display, taken the same day in the same location, shows four of the young men fighting on a suburban street corner. In several of the frames, a body is frozen in mid-air, horizontally suspended between ground and sky while being heaved by another. The social rituals explored throughout Frank’s body of work are often categorized by society-at-large as frivolous phases to be worked through on the way to adulthood rather than ways of being in their own right. The reverence and seriousness with which she presents her subjects and their experience, however, flip the script, presenting youth as a complicated, layered, and altogether whole form of existence, instead of merely the penultimate step one must take before reaching maturity, itself an increasingly vague thing towards which to aspire. In Frank’s photographs, youth is not flat, fixed, or a means to an end, but rather a period of life worthy of consideration, contemplation, and documentation. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554068164549-X1O0Q8IDDYC3LAF0DVTV/frank3.jpeg Exhibitions: Jill Frank KY - Jill Frank, Untitled, 2016, digital photograph Jill Frank everyone who woke up at the yellow house November 3 – December 9, 2017 Institute 193, Lexington Evening fell, ambiguous autumn evening: The beauties, dreamers who leaned on our arms, Whispered soft words, so deceptive, such charms, That our souls were left quivering and singing. — from “The Innocents” by Paul Verlaine, translated by A.S. Kline Jill Frank’s photographs preserve spaces, situations, and bodies in transition. Her subjects are caught in the awkward space between adolescence and adulthood, intoxication and sobriety, and are housed in suburbs, a similarly in-between geography straddling urban and rural, wealthy and not. They are photographed during or immediately after moments of what the artist describes as “social performances,” where selfhood is projected, negotiated, and compromised in service of an audience of peers. In the case of her series everyone who woke up at yellow house, the morning after a house party is documented vis-à-vis its effects on the bodies of those in attendance. The large portraits on view depict successive moments on opposing sides of a single frame that were taken split seconds apart, but present entirely different images, a visual cue that a single photograph isn’t capable of encapsulating the mercurial identities of these young participants. Garments are draped lazily over tired flesh, makeup runs, skin is blotched, bloated, and marked by acts of love and violence. A related series also on display, taken the same day in the same location, shows four of the young men fighting on a suburban street corner. In several of the frames, a body is frozen in mid-air, horizontally suspended between ground and sky while being heaved by another. The social rituals explored throughout Frank’s body of work are often categorized by society-at-large as frivolous phases to be worked through on the way to adulthood rather than ways of being in their own right. The reverence and seriousness with which she presents her subjects and their experience, however, flip the script, presenting youth as a complicated, layered, and altogether whole form of existence, instead of merely the penultimate step one must take before reaching maturity, itself an increasingly vague thing towards which to aspire. In Frank’s photographs, youth is not flat, fixed, or a means to an end, but rather a period of life worthy of consideration, contemplation, and documentation. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554576581628-8I8KST6OC9P3NDNNKHI2/JFINSTALLEDIT4.jpg Exhibitions: Jill Frank KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554068687364-870S240751A6LHV568UN/JFINSTALLEDIT2.jpg Exhibitions: Jill Frank KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557598408931-YMNWK84NP4G3TRRM27GI/JFINSTALLEDIT1.jpg Exhibitions: Jill Frank KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554068530059-JB24281NCYFUJ84XU7H2/JFINSTALLEDIT3.jpg Exhibitions: Jill Frank KY - Installation View https://www.institute193.org/exhibitions-howard-finster-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557596661121-GUK3IS0RPS4OZGH79UUL/angel+hires+copy.jpg Exhibitions: Howard Finster - Howard Finster, Untitled (The Angel of the Lord), 1989, enamel and permanent marker on plywood, 42 x 86 inches Howard Finster Prophecy on Plywood September 14 – October 21, 2017 Institute 193, Lexington In 1976, Howard Finster was repairing a bicycle when he noticed a paint smudge on the tip of his finger that had transformed into a human face. The face spoke to him saying, “paint sacred art.” In 1961, Finster and his family relocated from Trion to Pennville, Georgia, and, with the help of his family, he began creating what would eventually become his largest artwork: the Paradise Garden. According to the artist, “I built the park because I was commissioned by God.… My park is a memorial to inventors. The inventors don’t get recognition. They don’t have an Inventor’s Day. To represent them, I’m trying to collect at least one of every invention in the world.” Many of the structures in Paradise Garden were festooned with painted plywood cutouts. These works were produced at almost mechanical rates and cut from templates designed by the artist. Cutouts from the same template were, of course, identical, but the treatment of the work’s surface was always unique. Layers of ornamentation and writing embellished Finster’s pop-like images. One can read Finster’s sermons, poems, or general advice on a dinosaur tail, encounter a visionary scene on the wing of an archangel, or glimpse an excerpt from the Bible on the jaw of a howling wolf. Howard Finster produced more than 46,000 works over the course of his lifetime, but his cutouts make up the bulk of his output. Cheap and reasonably weather resistant, plywood offered a flat surface that could endure the seasons, especially when covered in oil-based tractor enamel. When asked about the use of this particular paint, Finster declared it "the best paint in the world." He had painted his tractor with it and after years of heat and humidity, it “still look good.” Howard Finster’s artistic career developed alongside his activities as a preacher and work as a builder and handyman. His first combinations of words and images, called “chalk work," came in the form of blackboard diagrams that he made while teaching Sunday school. Essential to Finster’s visual language is his intermixing of biblical references and American pop culture. Henry Ford, Albert Einstein, Elvis Presley and other iconic celebrities are represented for their accomplishments that are “biblical” in scale, appearing with archangels, dinosaurs, Siamese Twins, and Coca-Cola bottles. Finster saw the existence of these men and objects as the fulfillment of biblical prophecy. “Well, as far as I’m concerned, I’m not here to live a normal life. I’m sent here on a mission. I was fore predestined for this planet, just like Henry Ford. He was sent here to answer the prophecy of Ezekiel. Ezekiel speaks of horseless chariot. Henry Ford come to fulfill that verse.” (excerpt from Oral history interview with Howard Finster, 1984 June 11. Archives of American Art, Smithsonian Institution.) Finster's life and art were both unwaveringly directed toward bringing people to God, and God's word to the general public. He employed images gleaned from the culture around him and from his frequent visions interchangeably as tools in service of his evangelism. Howard Finster: Prophecy on Plywood was made possible in part thanks to a grant from VisitLex. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557596661121-GUK3IS0RPS4OZGH79UUL/angel+hires+copy.jpg Exhibitions: Howard Finster - Howard Finster, Untitled (The Angel of the Lord), 1989, enamel and permanent marker on plywood, 42 x 86 inches Howard Finster Prophecy on Plywood September 14 – October 21, 2017 Institute 193, Lexington In 1976, Howard Finster was repairing a bicycle when he noticed a paint smudge on the tip of his finger that had transformed into a human face. The face spoke to him saying, “paint sacred art.” In 1961, Finster and his family relocated from Trion to Pennville, Georgia, and, with the help of his family, he began creating what would eventually become his largest artwork: the Paradise Garden. According to the artist, “I built the park because I was commissioned by God.… My park is a memorial to inventors. The inventors don’t get recognition. They don’t have an Inventor’s Day. To represent them, I’m trying to collect at least one of every invention in the world.” Many of the structures in Paradise Garden were festooned with painted plywood cutouts. These works were produced at almost mechanical rates and cut from templates designed by the artist. Cutouts from the same template were, of course, identical, but the treatment of the work’s surface was always unique. Layers of ornamentation and writing embellished Finster’s pop-like images. One can read Finster’s sermons, poems, or general advice on a dinosaur tail, encounter a visionary scene on the wing of an archangel, or glimpse an excerpt from the Bible on the jaw of a howling wolf. Howard Finster produced more than 46,000 works over the course of his lifetime, but his cutouts make up the bulk of his output. Cheap and reasonably weather resistant, plywood offered a flat surface that could endure the seasons, especially when covered in oil-based tractor enamel. When asked about the use of this particular paint, Finster declared it "the best paint in the world." He had painted his tractor with it and after years of heat and humidity, it “still look good.” Howard Finster’s artistic career developed alongside his activities as a preacher and work as a builder and handyman. His first combinations of words and images, called “chalk work," came in the form of blackboard diagrams that he made while teaching Sunday school. Essential to Finster’s visual language is his intermixing of biblical references and American pop culture. Henry Ford, Albert Einstein, Elvis Presley and other iconic celebrities are represented for their accomplishments that are “biblical” in scale, appearing with archangels, dinosaurs, Siamese Twins, and Coca-Cola bottles. Finster saw the existence of these men and objects as the fulfillment of biblical prophecy. “Well, as far as I’m concerned, I’m not here to live a normal life. I’m sent here on a mission. I was fore predestined for this planet, just like Henry Ford. He was sent here to answer the prophecy of Ezekiel. Ezekiel speaks of horseless chariot. Henry Ford come to fulfill that verse.” (excerpt from Oral history interview with Howard Finster, 1984 June 11. Archives of American Art, Smithsonian Institution.) Finster's life and art were both unwaveringly directed toward bringing people to God, and God's word to the general public. He employed images gleaned from the culture around him and from his frequent visions interchangeably as tools in service of his evangelism. Howard Finster: Prophecy on Plywood was made possible in part thanks to a grant from VisitLex. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554572026936-KXVFFJNUKQAYIPVDXVZH/Finster3.jpg Exhibitions: Howard Finster - Howard Finster, Siamese Brothers, 1984, enamel on plywood, 48 x 13 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554674083970-B3POXGDTY2YY89LUPF94/angel+hires+copy+copy.jpg Exhibitions: Howard Finster https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554572610920-EULGLRURK6KEWETEM4TH/Finster1.jpg Exhibitions: Howard Finster - Howard Finster, The Vision of the Unicorn Ghost, 1986, enamel on plywood, 48 x 13 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554572551386-XO7YQJAP3QRDF6YRZTLL/Finster4.jpg Exhibitions: Howard Finster - Howard Finster, Elvis at 3, 1987, enamel on plywood, 29 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554651483405-JW2AFHMSPI1IZQSNG8CI/angel+hires.jpg Exhibitions: Howard Finster - Howard Finster, Untitled (The Angel of the Lord), 1989, Enamel and permanent marker on plywood, 42 x 86 inches Howard Finster Prophecy on Plywood September 14 - October 21, 2017 In 1976, Howard Finster was repairing a bicycle when he noticed a paint smudge on the tip of his finger that had transformed into a human face. The face spoke to him saying, “paint sacred art.” In 1961, Finster and his family relocated from Trion to Pennville, Georgia, and, with the help of his family, he began creating what would eventually become his largest artwork: the Paradise Garden. According to the artist, “I built the park because I was commissioned by God. (…) My park is a memorial to inventors. The inventors don’t get recognition. They don’t have an Inventor’s Day. To represent them, I’m trying to collect at least one of every invention in the world.” Many of the structures in Paradise Garden were festooned with painted plywood cutouts. These works were produced at almost mechanical rates and cut from templates designed by the artist. Cutouts from the same template were, of course, identical, but the treatment of the work’s surface was always unique. Layers of ornamentation and writing embellished Finster’s pop-like images. One can read Finster’s sermons, poems, or general advice on a dinosaur tail, encounter a visionary scene on the wing of an archangel, or glimpse an excerpt from the Bible on the jaw of a howling wolf. Howard Finster produced more than 46,000 works over the course of his lifetime, but his cutouts make up the bulk of his output. Cheap and reasonably weather resistant, plywood offered a flat surface that could endure the seasons, especially when covered in oil-based tractor enamel. When asked about the use of this particular paint, Finster declared it "the best paint in the world." He had painted his tractor with it and after years of heat and humidity, it “still look good.” Howard Finster’s artistic career developed alongside his activities as a preacher and work as a builder and handyman. His first combinations of words and images, called “chalk work," came in the form of blackboard diagrams that he made while teaching Sunday school. Essential to Finster’s visual language is his intermixing of biblical references and American pop culture. Henry Ford, Albert Einstein, Elvis Presley and other iconic celebrities are represented for their accomplishments that are “biblical” in scale, appearing with archangels, dinosaurs, Siamese Twins, and Coca-Cola bottles. Finster saw the existence of these men and objects as the fulfillment of biblical prophecy. “Well, as far as I’m concerned, I’m not here to live a normal life. I’m sent here on a mission. I was fore predestined for this planet, just like Henry Ford. He was sent here to answer the prophecy of Ezekiel. Ezekiel speaks of horseless chariot. Henry Ford come to fulfill that verse.” (excerpt from Oral history interview with Howard Finster, 1984 June 11. Archives of American Art, Smithsonian Institution.) Finster's life and art were both unwaveringly directed toward bringing people to God, and God's word to the general public. He employed images gleaned from the culture around him and from his frequent visions interchangeably as tools in service of his evangelism. Howard Finster: Prophecy on Plywood was made possible in part thanks to a grant from VisitLex. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554571444379-B4NRSO8SNUHMKHIJ3R10/Finster2.jpg Exhibitions: Howard Finster https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554572713338-3OA75ZBJR4T6W3OT5PNL/Finster+install2.jpg Exhibitions: Howard Finster - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554572702363-JS7C7W587VYHRS66W8SE/Finsterisntall.jpg Exhibitions: Howard Finster - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554571608068-FKYVQU3CS7ZZQVCLO8JP/Finster2+copy.jpg Exhibitions: Howard Finster https://www.institute193.org/exhibitions-kevin-cole-ny daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556399214752-PPEL9B9C2N6AYXFA0O9E/Cole3.jpg Exhibitions: Kevin Cole NY - Kevin Cole, Is Caught Up In The Midst Of A Conflict II, 2017, mixed media on wood, 38 x 36 x 8 inches Kevin Cole All Tied Up In Politics Organized by Daniel Fuller in conjunction with the Atlanta Contemporary April 27 – June 16, 2019 Institute 193 (1B), New York In 1868, two years before the Fifteenth Amendment that prohibited each state from denying a citizen’s right to vote based on their “race, color, or previous condition of servitude” was ratified, Arkansans were already electing African Americans to the state legislature. Only three years after slavery was abolished, six black men served in the state General Assembly. Between 1868 and 1893, a total of 84 black lawyers, merchants, ministers, educators and landed farmers served in the state Senate and House. Upon the last black legislator leaving the state House, it would be a full 80 years before the next was elected. In 1972, four African-American legislators were elected to the General Assembly, leaving Arkansas with the distinction of being the last Southern state to do so in modern times. During the late 1800s, urbanization ushered into Arkansas something unseen in the South: a true black bourgeoisie. They were tradesmen, a black society of entrepreneurs and professional men that worked their way into tremendous wealth. In Pine Bluff, Wiley Jones began as a houseboy gifted from a wealthy lawyer to his son as a marriage present. Jones ascended to being one of the wealthiest men in the state. With no schooling, he worked from sunrise to sunset; in a restaurant, in a barbershop, as a saloon operator, at a major real estate development company, and later at his business, the Southern Mercantile Company. In 1886, he became the first African American to receive a franchise permit to operate a streetcar system. He owned 1.25 miles of track, which are still owned and utilized (Pine Bluff Transit) by the city to this day. A fan of horse racing, he built a harness-racing track on his fifty-five-acre park. During the same time the lives of some black urbanites were prospering, the quality of life of many rural whites was on a sharp decline. White farmers were in the position of working for and having to negotiate with black business owners. When the cotton market crashed, the circumstances of many white Arkansas farmers began to closely resemble the conditions of the long exploited rural black populations. During Reconstruction, Republicans actively courted black voters around the state. However, as economic situations were shifting, poorer white Arkansans pressured politicians to favor their needs. In response, at the end of the 19th and start of the 20th century, Democrats declared their primaries private party elections – thus no longer subject to state or federal laws. Black voters were therefore banned from the polls. No longer holding political power, African Americans in Arkansas lost all influence over local police, courts, and public schools. They were no longer citizens. Any attempts to confront these injustices were met with hostility from white employers and absolute violence from vigilantes such as the Ku Klux Klan. There was a general lawlessness that resulted in full-fledged race riots where white mobs attacked groups attempting to organize the black vote. Leaders were identified and subject to “night riding” or “whitecapping.” From 1860 to 1930, there were 318 documented lynchings in Arkansas; 231 of the victims were black. This legacy informs Kevin Cole’s work. His grandfather, Terry, was from just outside of Star City, Arkansas. When Kevin turned 18 in 1978, Terry wanted Kevin to go vote. Unconvinced that politics would influence his young life, Kevin did not want to go. The 91-year-old used his cane to draw a map in the soil. He told his grandson to find a specific tree and to stand there and take it in. Kevin did as he was asked, and standing there, he had a truly frightening feeling. When he returned, his grandfather informed him that this specific tree had been used to lynch African Americans by their neckties on their way to vote. Standing up for the right to be heard and having a political voice were such privileges that African-Americans voters treated them with proper reverence. Wearing their Sunday best to the polls, black voters were easy for vigilantes to identify. As Aatish Taseer writes in Anatomy of a Lynching (2017): “A lynching is much more than just a murder. A murder may occur in private. A lynching is a public spectacle; it demands an audience ... A lynching is a majority’s way of telling a minority population that the law cannot protect it.” Cole’s work serves as a different kind of spectacle, demanding an audience in celebration of history and survival. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556399214752-PPEL9B9C2N6AYXFA0O9E/Cole3.jpg Exhibitions: Kevin Cole NY - Kevin Cole, Is Caught Up In The Midst Of A Conflict II, 2017, mixed media on wood, 38 x 36 x 8 inches Kevin Cole All Tied Up In Politics Organized by Daniel Fuller in conjunction with the Atlanta Contemporary April 27 – June 16, 2019 Institute 193 (1B), New York In 1868, two years before the Fifteenth Amendment that prohibited each state from denying a citizen’s right to vote based on their “race, color, or previous condition of servitude” was ratified, Arkansans were already electing African Americans to the state legislature. Only three years after slavery was abolished, six black men served in the state General Assembly. Between 1868 and 1893, a total of 84 black lawyers, merchants, ministers, educators and landed farmers served in the state Senate and House. Upon the last black legislator leaving the state House, it would be a full 80 years before the next was elected. In 1972, four African-American legislators were elected to the General Assembly, leaving Arkansas with the distinction of being the last Southern state to do so in modern times. During the late 1800s, urbanization ushered into Arkansas something unseen in the South: a true black bourgeoisie. They were tradesmen, a black society of entrepreneurs and professional men that worked their way into tremendous wealth. In Pine Bluff, Wiley Jones began as a houseboy gifted from a wealthy lawyer to his son as a marriage present. Jones ascended to being one of the wealthiest men in the state. With no schooling, he worked from sunrise to sunset; in a restaurant, in a barbershop, as a saloon operator, at a major real estate development company, and later at his business, the Southern Mercantile Company. In 1886, he became the first African American to receive a franchise permit to operate a streetcar system. He owned 1.25 miles of track, which are still owned and utilized (Pine Bluff Transit) by the city to this day. A fan of horse racing, he built a harness-racing track on his fifty-five-acre park. During the same time the lives of some black urbanites were prospering, the quality of life of many rural whites was on a sharp decline. White farmers were in the position of working for and having to negotiate with black business owners. When the cotton market crashed, the circumstances of many white Arkansas farmers began to closely resemble the conditions of the long exploited rural black populations. During Reconstruction, Republicans actively courted black voters around the state. However, as economic situations were shifting, poorer white Arkansans pressured politicians to favor their needs. In response, at the end of the 19th and start of the 20th century, Democrats declared their primaries private party elections – thus no longer subject to state or federal laws. Black voters were therefore banned from the polls. No longer holding political power, African Americans in Arkansas lost all influence over local police, courts, and public schools. They were no longer citizens. Any attempts to confront these injustices were met with hostility from white employers and absolute violence from vigilantes such as the Ku Klux Klan. There was a general lawlessness that resulted in full-fledged race riots where white mobs attacked groups attempting to organize the black vote. Leaders were identified and subject to “night riding” or “whitecapping.” From 1860 to 1930, there were 318 documented lynchings in Arkansas; 231 of the victims were black. This legacy informs Kevin Cole’s work. His grandfather, Terry, was from just outside of Star City, Arkansas. When Kevin turned 18 in 1978, Terry wanted Kevin to go vote. Unconvinced that politics would influence his young life, Kevin did not want to go. The 91-year-old used his cane to draw a map in the soil. He told his grandson to find a specific tree and to stand there and take it in. Kevin did as he was asked, and standing there, he had a truly frightening feeling. When he returned, his grandfather informed him that this specific tree had been used to lynch African Americans by their neckties on their way to vote. Standing up for the right to be heard and having a political voice were such privileges that African-Americans voters treated them with proper reverence. Wearing their Sunday best to the polls, black voters were easy for vigilantes to identify. As Aatish Taseer writes in Anatomy of a Lynching (2017): “A lynching is much more than just a murder. A murder may occur in private. A lynching is a public spectacle; it demands an audience ... A lynching is a majority’s way of telling a minority population that the law cannot protect it.” Cole’s work serves as a different kind of spectacle, demanding an audience in celebration of history and survival. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556399087934-QTRUQ3OD7BD3BCSDYZM1/IMG_3194.PNG Exhibitions: Kevin Cole NY - Kevin Cole, Living Between The White Lines, 2017, mixed media on wood, 85 x 80 x 7 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556399252279-CH0HI8K37RA42PTUGFY1/Cole1.jpg Exhibitions: Kevin Cole NY - Kevin Cole, When Burdens Are Lifted I, 2017, etched aluminum, 19 x 38 x 7 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556399285506-I63U6GU5ZBMG145O806Y/Cole2.jpg Exhibitions: Kevin Cole NY - Ignoring Consequences I, 2018, etched aluminum, 30 x 30 x 7 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556399305098-YXOXG2D39IH3FDYICTSZ/Cole4c%3AoMartaHewett.jpg Exhibitions: Kevin Cole NY - Kevin Cole, Shakie Situations VIII, 2011, embossed print, 34 x 50 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1558214361914-56Q896S9O6HG2DH4JJKA/DSC_0241.jpg Exhibitions: Kevin Cole NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1558214464258-ZC7QXBG8A5IVH2Q2P8NR/DSC_0246.jpg Exhibitions: Kevin Cole NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1558214513435-IF6MANBKARB0UULLJSRF/DSC_0252.jpg Exhibitions: Kevin Cole NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1558214520552-KBYNJ4PYO4UY3OCVXBZA/DSC_0254.jpg Exhibitions: Kevin Cole NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1558215228022-FO6H436QAGWL7Z0PAZGN/DSC_0258.jpg Exhibitions: Kevin Cole NY - Installation View https://www.institute193.org/exhibitions-emily-ludwig-shaffer-ky daily 0.75 2020-08-26 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557332830623-XHO40O4JB4M54CE3DF83/201909p_R+and+R+and+R_acrylic+on+paper_22point5x30+inches_photo+Joe+Parra_cropped.jpg Exhibitions: Emily Ludwig Shaffer KY - Emily Ludwig Shaffer, R & R & R, 2019, acrylic on paper, 22.5 x 30 inches Emily Ludwig Shaffer From the Ha-Ha Wall Comes the No-No Dance May 3 – June 8, 2019 Institute 193, Lexington In landscape architecture, Ha-Ha’s are a design element of French-origin, comprised of a steep ditch leading to a vertical retaining wall. The feature acts as a nearly invisible but nonetheless effective barrier, limiting transit from one side to the other. One such barrier makes an appearance in a work by Emily Ludwig Shaffer and is referenced in its title, From the Ha-Ha Wall Comes the No-No Dance. Visual play and illusionistic architectural space, essential to the function of Ha-Ha’s, figure prominently throughout Shaffer’s work. The bulk of the paintings on view are tightly rendered depictions of uncanny, intimate, interior spaces. At times, they exceed reality; in one, afternoon and dusk can be seen through windows in neighboring rooms, another shows a starry night sky housed in a box and a bay leaf wreath. Domestic in nature, the small, homey spaces seem to be designed for social gatherings between intimate friends, despite crossing over into alternate or parallel realities. Shaffer, whose mother was an architect, describes the scenes in her paintings as theoretical explorations of space, light, and color, and as homages to the spaces women build and create. If the ideal space in classical architecture, largely envisioned from a masculine perspective, privileges logic, rationality, and grand scale, then Shaffer’s interiors privilege the reverse. They are surreal, esoteric, and meant to accommodate small, familial gatherings. References to feminine traditions and practices frequently appear as frames or decorative elements within the structures Shaffer builds. In one painting, a large braid is draped over the roof and sidewall of one room. Another shows a wall adorned with a woven structure made up of cylindrical purple plants. The only overt reference to the figure present in the works, are the ambiguously featured statuary emerging from the hedge in From the Ha-Ha Wall Comes the No-No Dance. The position in which they are frozen, which Shaffer calls the ‘No-No Dance’, with arms stretched, palms out, and legs extended, is an embodied gesture of refusal that carries with it the implied sensuality of a dance. Perhaps these figures serve as gatekeepers to the spaces beyond, the invisible but impenetrable border formed by the Ha-Ha ensuring that those within the hedge can engage in joyful self-preservation and world building regardless of what lies beyond. In addition to the paintings on view, Shaffer has partnered with Lexington-based architect & designer Jason Scroggin and the Michler Family Florists to design and build a custom bench seat with planters meant to encourage intimate exchanges. Scroggin is an Associate Professor at the University of Kentucky College of Design School of Architecture and practices independently as Scroggin Studio. He was assisted by Afif Alahmad and Lucas Wheeler. Press: Emily Ludwig Shaffer at Institute 193 by Dmitry Strakovsky, Under Main, April 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557332830623-XHO40O4JB4M54CE3DF83/201909p_R+and+R+and+R_acrylic+on+paper_22point5x30+inches_photo+Joe+Parra_cropped.jpg Exhibitions: Emily Ludwig Shaffer KY - Emily Ludwig Shaffer, R & R & R, 2019, acrylic on paper, 22.5 x 30 inches Emily Ludwig Shaffer From the Ha-Ha Wall Comes the No-No Dance May 3 – June 8, 2019 Institute 193, Lexington In landscape architecture, Ha-Ha’s are a design element of French-origin, comprised of a steep ditch leading to a vertical retaining wall. The feature acts as a nearly invisible but nonetheless effective barrier, limiting transit from one side to the other. One such barrier makes an appearance in a work by Emily Ludwig Shaffer and is referenced in its title, From the Ha-Ha Wall Comes the No-No Dance. Visual play and illusionistic architectural space, essential to the function of Ha-Ha’s, figure prominently throughout Shaffer’s work. The bulk of the paintings on view are tightly rendered depictions of uncanny, intimate, interior spaces. At times, they exceed reality; in one, afternoon and dusk can be seen through windows in neighboring rooms, another shows a starry night sky housed in a box and a bay leaf wreath. Domestic in nature, the small, homey spaces seem to be designed for social gatherings between intimate friends, despite crossing over into alternate or parallel realities. Shaffer, whose mother was an architect, describes the scenes in her paintings as theoretical explorations of space, light, and color, and as homages to the spaces women build and create. If the ideal space in classical architecture, largely envisioned from a masculine perspective, privileges logic, rationality, and grand scale, then Shaffer’s interiors privilege the reverse. They are surreal, esoteric, and meant to accommodate small, familial gatherings. References to feminine traditions and practices frequently appear as frames or decorative elements within the structures Shaffer builds. In one painting, a large braid is draped over the roof and sidewall of one room. Another shows a wall adorned with a woven structure made up of cylindrical purple plants. The only overt reference to the figure present in the works, are the ambiguously featured statuary emerging from the hedge in From the Ha-Ha Wall Comes the No-No Dance. The position in which they are frozen, which Shaffer calls the ‘No-No Dance’, with arms stretched, palms out, and legs extended, is an embodied gesture of refusal that carries with it the implied sensuality of a dance. Perhaps these figures serve as gatekeepers to the spaces beyond, the invisible but impenetrable border formed by the Ha-Ha ensuring that those within the hedge can engage in joyful self-preservation and world building regardless of what lies beyond. In addition to the paintings on view, Shaffer has partnered with Lexington-based architect & designer Jason Scroggin and the Michler Family Florists to design and build a custom bench seat with planters meant to encourage intimate exchanges. Scroggin is an Associate Professor at the University of Kentucky College of Design School of Architecture and practices independently as Scroggin Studio. He was assisted by Afif Alahmad and Lucas Wheeler. Press: Emily Ludwig Shaffer at Institute 193 by Dmitry Strakovsky, Under Main, April 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557332092611-687MU421G0FRS5WDZ66H/201903p_Up+In+Down+Out_2019_oil+on+canvas_72x96inches_photo+Joe+Parra_cropped.jpg Exhibitions: Emily Ludwig Shaffer KY - Emily Ludwig Shaffer, Up Out In, 2019, oil on canvas, 72 x 96 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557332411245-7NEARQP8DTUL7YT9VOSA/201902p_View+to+the+Night+Box_oil+on+canvas_72x65inches_photo+Joe+Parra_cropped.jpg Exhibitions: Emily Ludwig Shaffer KY - Emily Ludwig Shaffer, View to the Night Box, 2019, oil on canvas, 72 x 65 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557332529073-G57EPW62EFYH9QZ1PRJL/201904p_Color+Braid_oil+on+canvas_42x34inches_photo+Joe+Parra_cropped.jpg Exhibitions: Emily Ludwig Shaffer KY - Emily Ludwig Shaffer, Color Braid, 2019, oil on canvas, 42 x 34 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557332610716-LGJFDQE9P3SAF6ZIXMBW/201907p_From+The+Ha+Ha+Wall+Comes+The+No+No+Dance_oil+on+canvas_72x65inches_photo+Joe+Parra_cropped.jpg Exhibitions: Emily Ludwig Shaffer KY - Emily Ludwig Shaffer, From the Ha-Ha Wall Comes the No-No Dance, 2019, oil on canvas, 72 x 96 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557332786919-VRKJKBL4I3KYJ0U91DSD/201908p_Bedroom+in+Barge%CC%80me+Tuck_oil+on+canvas_50x40inches_Photo+Joe+Parra_cropped.jpg Exhibitions: Emily Ludwig Shaffer KY - Emily Ludwig Shaffer, Bedroom in Bargème / Tuck, 2019, oil on canvas, 50 x 40 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557332911284-ZZUC3LD69N67I5Z7PC9N/201816p_Unassembled+Chair_acryliconpaper_24x19inches_photoTimDoyon.jpg Exhibitions: Emily Ludwig Shaffer KY - Emily Ludwig Shaffer, Unassembled Chair, 2019, acrylic on paper, 24 x 19 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571080720159-X7O0VLOLQ5YTWCF79OMY/EMILYREEDIT1.jpg Exhibitions: Emily Ludwig Shaffer KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571080762640-S0K9N1PG3NRO2Q5S8I8P/EMILYREEDIT6.jpg Exhibitions: Emily Ludwig Shaffer KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571080806088-WK7BF1VWMIQN59RRWVAJ/EMILYREEDIT8.jpg Exhibitions: Emily Ludwig Shaffer KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571080849445-5S1RNVLECS5JBLQ17SPM/EMILYREEDIT10.jpg Exhibitions: Emily Ludwig Shaffer KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571080853837-K4AL3GHGGEA08ZT1RMFT/EMILYREEDIT11.jpg Exhibitions: Emily Ludwig Shaffer KY - Installation View https://www.institute193.org/off-site-bruce-burris daily 0.75 2020-02-09 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557416663122-FYDNM4XYABG21QA5MAZG/Bruce_Burris_install_01.jpg Off Site: Bruce Burris - Installation View Bruce Burris We Will Shed Some Blood to Save Our Mountain! A.L.S.O. (Shrine and Sargent’s Daughters) April 28 – June 2, 2019 Valley Girl by Crystal Good ‘Cause we ain’t got no choice no time to wait for the next industry. Damn didn’t we get degrees? Coal miner’s daughter is now chemical plant step kid. Dear Mamma’s gettin’ divorced again. Pharmaceutical pesticide love child — downsized without support. Gone are brand new cars, money to spend on hotel rooms, Nike shoes. Cross the county it’s true. Stability’s leaving town like rolling coal all we can do is stay — shelter in place. In 1992, Bruce Burris moved to Lexington, Kentucky from the Bay Area and became acutely aware of the impact that extractive industries, particularly coal, were having on the region. In his own words, “I am concerned for the aftereffects here, those ways in which we abandon the environmental, educational, and community aspirations of those who remain after an industry moves on. Additionally, it is important for me to say that though my work sources topics which are important and often controversial my interest is in voicing ideas and I am not interested so much in perceptions of right versus wrong—it’s more about here we are and how can we respectfully dig our way out of this jam.” In an effort to engage these immediately regional concerns, Burris founded ELandF Gallery in 2005, a self-described small projects accelerator that paid artists to stage performances of their work in various public settings. He also created his own interventions, hiring actors to reenact protests or gatherings he had seen in the newspaper or online, often on the sites of homegrown advocacy groups. He was particularly drawn to the do-it-yourself quality of the protest materials and those events where things went “haywire.” Burris’s protest signs directly reference these groups but take the form of drawings and paintings and are built on a visual scaffolding of language and found imagery. Writing is pervasive in almost all of his work but is particularly essential here, in objects that literally communicate the complex realities and human toll of certain modern industries. The First Amendment protects the “the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.” Our founding fathers might not have imagined this right to be exercised by women wearing trademarked “pussy hats” or envisioned anything that falls under the auspices of performance art, but they clearly understood its potential value. Protest is by nature, a call to change, not the change itself, and there is a great deal of debate on the ultimate efficacy of protest to impact lasting progress. This dilemma is at the core of Burris’s work—an acknowledgement of the simultaneous potential and impossibility of an individual or small group to enact lasting change. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557416663122-FYDNM4XYABG21QA5MAZG/Bruce_Burris_install_01.jpg Off Site: Bruce Burris - Installation View Bruce Burris We Will Shed Some Blood to Save Our Mountain! A.L.S.O. (Shrine and Sargent’s Daughters) April 28 – June 2, 2019 Valley Girl by Crystal Good ‘Cause we ain’t got no choice no time to wait for the next industry. Damn didn’t we get degrees? Coal miner’s daughter is now chemical plant step kid. Dear Mamma’s gettin’ divorced again. Pharmaceutical pesticide love child — downsized without support. Gone are brand new cars, money to spend on hotel rooms, Nike shoes. Cross the county it’s true. Stability’s leaving town like rolling coal all we can do is stay — shelter in place. In 1992, Bruce Burris moved to Lexington, Kentucky from the Bay Area and became acutely aware of the impact that extractive industries, particularly coal, were having on the region. In his own words, “I am concerned for the aftereffects here, those ways in which we abandon the environmental, educational, and community aspirations of those who remain after an industry moves on. Additionally, it is important for me to say that though my work sources topics which are important and often controversial my interest is in voicing ideas and I am not interested so much in perceptions of right versus wrong—it’s more about here we are and how can we respectfully dig our way out of this jam.” In an effort to engage these immediately regional concerns, Burris founded ELandF Gallery in 2005, a self-described small projects accelerator that paid artists to stage performances of their work in various public settings. He also created his own interventions, hiring actors to reenact protests or gatherings he had seen in the newspaper or online, often on the sites of homegrown advocacy groups. He was particularly drawn to the do-it-yourself quality of the protest materials and those events where things went “haywire.” Burris’s protest signs directly reference these groups but take the form of drawings and paintings and are built on a visual scaffolding of language and found imagery. Writing is pervasive in almost all of his work but is particularly essential here, in objects that literally communicate the complex realities and human toll of certain modern industries. The First Amendment protects the “the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.” Our founding fathers might not have imagined this right to be exercised by women wearing trademarked “pussy hats” or envisioned anything that falls under the auspices of performance art, but they clearly understood its potential value. Protest is by nature, a call to change, not the change itself, and there is a great deal of debate on the ultimate efficacy of protest to impact lasting progress. This dilemma is at the core of Burris’s work—an acknowledgement of the simultaneous potential and impossibility of an individual or small group to enact lasting change. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557416921297-OU6TS7QASOBTPHDT0GBC/Bruce_Burris_06.JPG Off Site: Bruce Burris - Bruce Burris, No Mountain Murder, 2014, acrylic on found yard sign, 24 x 28.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557417130890-TJSHL6XDCOCCSJ8HF4H6/Bruce_Burris_03.JPG Off Site: Bruce Burris - Bruce Burris, Cut Out Greed Not Our Trees, 2018-2019, mixed media assemblage, 28.5 x 24.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557417843106-T72IXBCIFO1XHXN4G1K0/Bruce_Burris_04.JPG Off Site: Bruce Burris - Bruce Burris, These Trees, 2018-2019, mixed media assemblage, 31.5 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557418213345-L12C0SCVS2PSS4WCM2CO/Bruce_Burris_07.JPG Off Site: Bruce Burris - Bruce Burris, No Clean Coal, 2018, mixed media assemblage, 30 x 24.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557417992070-2MMJBIQ5Q5TEW9U5BDLQ/Bruce_Burris_01.JPG Off Site: Bruce Burris - Bruce Burris, Now This Ol' Catfishery, 2018, mixed media on paper 24 x 85.5 x 1 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557417728189-JVJBL7FYINZL7XJH6DVT/Bruce_Burris_install_02.jpg Off Site: Bruce Burris - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557417756787-FKZGTWT52CQF44U8HLFO/Bruce_Burris_install_03.jpg Off Site: Bruce Burris - Installation View https://www.institute193.org/exhibitions-charles-williams-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557853781921-2LX4LB3S6JXZ6VDUIUKQ/CW_Pencil_Rocket_1092.jpg Exhibitions: Charles Williams KY - Charles Williams, Pencil Rocket, early 1980s, papier-mâché, plastic fan blade, table-fan base, plastic, doorstop, and paint, 24.25 x 59 x 19 inches Charles Williams Silo #3 October 7 – December 3, 2010 Institute 193, Lexington Charles Williams, a native of Blue Diamond, Kentucky, created a vast body of work that included photography, comics, paintings, sculptures and an environmental installation and home that he referred to as Silo #3. Institute 193 and Land of Tomorrow are pleased to present the first comprehensive solo-exhibition of the late Williams’s work. This multi-venue approach will provide the viewer with an overall presentation of the artist‘s work and will feature pieces spanning the entirety of his career. Land of Tomorrow will house larger, environmental works while Institute 193 will focus on the artist’s more intimate creations. Williams, a mercurial character who escapes easy definition, had an untold influence on the local art community that will finally be illuminated by this exhibition. "I got me this place here and decided to do something with it. I have always had art on my mind and wanted to do something out front there that I hadn't heard of no other person doing. I fixed up the trees to give them some new life, some color, one idea got another idea and so on down the line, each idea kept building into another idea." https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557853781921-2LX4LB3S6JXZ6VDUIUKQ/CW_Pencil_Rocket_1092.jpg Exhibitions: Charles Williams KY - Charles Williams, Pencil Rocket, early 1980s, papier-mâché, plastic fan blade, table-fan base, plastic, doorstop, and paint, 24.25 x 59 x 19 inches Charles Williams Silo #3 October 7 – December 3, 2010 Institute 193, Lexington Charles Williams, a native of Blue Diamond, Kentucky, created a vast body of work that included photography, comics, paintings, sculptures and an environmental installation and home that he referred to as Silo #3. Institute 193 and Land of Tomorrow are pleased to present the first comprehensive solo-exhibition of the late Williams’s work. This multi-venue approach will provide the viewer with an overall presentation of the artist‘s work and will feature pieces spanning the entirety of his career. Land of Tomorrow will house larger, environmental works while Institute 193 will focus on the artist’s more intimate creations. Williams, a mercurial character who escapes easy definition, had an untold influence on the local art community that will finally be illuminated by this exhibition. "I got me this place here and decided to do something with it. I have always had art on my mind and wanted to do something out front there that I hadn't heard of no other person doing. I fixed up the trees to give them some new life, some color, one idea got another idea and so on down the line, each idea kept building into another idea." https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557854127505-DADWH49LKKPKG6ZE90UE/CW_Dick_Tracy_1104_0.jpg Exhibitions: Charles Williams KY - Charles Williams, Dick Tracy, n.d., paint on Masonite, 41 x 27.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557854238381-A4P3UWJ4387PQOQY076Y/CW_Pencil_Holder_1095.jpg Exhibitions: Charles Williams KY - Charles Williams, Pencil Holder, n.d., carpet, Plexiglas, newspaper, plastic leaf, wood, pen, pencil, and paint, 17 x 13 x 11 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557854325601-CSUPJD88VLR6T94EHPF9/CW_Pencil_Holder_1088.jpg Exhibitions: Charles Williams KY - Charles Williams, early 1980s, plastic, writing instruments, wood, and paint, 37 x 19 x 21 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557926249187-3WR179PO3S73B53RMZP1/CW_Fantasy_Automobile_1090.jpg Exhibitions: Charles Williams KY - Charles Williams, Fantasy Automobile, early 1980s, found objects and paint, 51.5 x 38 x 43 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557854433638-SG0D9QRY1QBVT252HR3Y/CW_Lamp_1097.jpg Exhibitions: Charles Williams KY - Charles Williams, early 1980s, wood, wood putty, electric lamp, mirror, doorstop, metal faucet, wheels, and paint, 53.25 x 35 x 11.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557854541632-LR45WL7U1A9HYVSJCZ1P/DSC_0075.jpg Exhibitions: Charles Williams KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557854604657-M4WTY635HOIN33B6W13X/DSC_0060.jpg Exhibitions: Charles Williams KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557854680702-K6SPPOEMDEKRWMEH21UZ/DSC_0051.jpg Exhibitions: Charles Williams KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557855205577-DEKGEYMCMMCL0FJ4T2BT/SILO+14.jpg Exhibitions: Charles Williams KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557855305072-16NPC9TWN9WU2GFNL2RJ/SILO+18.jpg Exhibitions: Charles Williams KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557855418428-PRUFQYOLACILLZVBWQO4/SILO+5.jpg Exhibitions: Charles Williams KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557855535022-XSC625AXF9E4L1MR575H/SILO+38.jpg Exhibitions: Charles Williams KY - Installation View https://www.institute193.org/exhibitions-louis-zoellar-bickett-collection-ky daily 0.75 2020-04-17 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560019498849-5UVIPDYNWN9Q10MOFWW8/ea666dd7db7d99e3-DSC_00632.png Louis Zoellar Bickett KY - Installation View Louis Zoellar Bickett Selections from the Art Collection October 27 – November 26, 2016 Institute 193, Lexington On October 15, 2009, Institute 193 opened its doors with an inaugural exhibition titled Selections from the Archive, featuring dozens of works from Louis Zoellar Bickett’s vast Archive. At the time, Bickett lived in an apartment above the gallery, and the exhibition attempted to recreate the feeling of the artist’s home and studio with labeled collections, personal items, books, and art objects. Seven years later, Institute 193 presents Louis Zoellar Bickett: Selections from the Art Collection, a visual testament to the artist's deep connections to the Lexington art community. Over the years, Bickett has supported and encouraged a number of artists as friend, mentor, patron and collector. The artist has further transformed the collected artworks through the action of labeling, indexing, and assimilating them into his own all-consuming Archive. Most artworks receive their own label and appear in one of Bickett’s various indexes. Some are carefully wrapped in craft paper while others are placed within sealed Ziplock bags or covered in black opaque plastic. In some cases, the object is only identifiable by its label, having been completely digested by the artist’s meticulous process. Louis Zoellar Bickett: Selections from the Art Collection features works by seventeen artists including: Raymond Adams, G. Haviland Argo III, Lauren Argo, Clint Colburn, J.T. Dockery, Mike Goodlett, Carmen Grier, David Hanlon, Guy Mendes, David Minton, Aurora Parrish, Don Russell, Arturo Alonzo Sandoval, Ellen Skidmore, Aaron Skolnick, Lina Tharsing, and James Whitefox. The exhibition is presented as part of a citywide retrospective of the artist’s work. Concurrent exhibitions are being held by the University of Kentucky Art Museum, 21c Museum Hotel, and the Lexington Art League. Press: Louis Zoellar Bickett at 66: artistic acclaim and a death sentence by Cheryl Truman, Lexington Herald Leader, August 31, 2016 Creative Types: Louis Bickett – Photographer, Collector & Serial Archivist by Celeste Lewis, Chevy Chaser Magazine, March 2, 2016 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560019498849-5UVIPDYNWN9Q10MOFWW8/ea666dd7db7d99e3-DSC_00632.png Louis Zoellar Bickett KY - Installation View Louis Zoellar Bickett Selections from the Art Collection October 27 – November 26, 2016 Institute 193, Lexington On October 15, 2009, Institute 193 opened its doors with an inaugural exhibition titled Selections from the Archive, featuring dozens of works from Louis Zoellar Bickett’s vast Archive. At the time, Bickett lived in an apartment above the gallery, and the exhibition attempted to recreate the feeling of the artist’s home and studio with labeled collections, personal items, books, and art objects. Seven years later, Institute 193 presents Louis Zoellar Bickett: Selections from the Art Collection, a visual testament to the artist's deep connections to the Lexington art community. Over the years, Bickett has supported and encouraged a number of artists as friend, mentor, patron and collector. The artist has further transformed the collected artworks through the action of labeling, indexing, and assimilating them into his own all-consuming Archive. Most artworks receive their own label and appear in one of Bickett’s various indexes. Some are carefully wrapped in craft paper while others are placed within sealed Ziplock bags or covered in black opaque plastic. In some cases, the object is only identifiable by its label, having been completely digested by the artist’s meticulous process. Louis Zoellar Bickett: Selections from the Art Collection features works by seventeen artists including: Raymond Adams, G. Haviland Argo III, Lauren Argo, Clint Colburn, J.T. Dockery, Mike Goodlett, Carmen Grier, David Hanlon, Guy Mendes, David Minton, Aurora Parrish, Don Russell, Arturo Alonzo Sandoval, Ellen Skidmore, Aaron Skolnick, Lina Tharsing, and James Whitefox. The exhibition is presented as part of a citywide retrospective of the artist’s work. Concurrent exhibitions are being held by the University of Kentucky Art Museum, 21c Museum Hotel, and the Lexington Art League. Press: Louis Zoellar Bickett at 66: artistic acclaim and a death sentence by Cheryl Truman, Lexington Herald Leader, August 31, 2016 Creative Types: Louis Bickett – Photographer, Collector & Serial Archivist by Celeste Lewis, Chevy Chaser Magazine, March 2, 2016 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560019640074-0C7SZBC762ZLUQLMQBAN/5d6d965c485c3612-DSC_0073.png Louis Zoellar Bickett KY - Mike Goodlett, Kourous, 1998, wood, cloth, synthetic hair, 14 x 4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560019710308-I5KKGTKX4FHGWO425FQ1/8a13849724a05c2c-LZB_installationshot.png Louis Zoellar Bickett KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560019508425-LF19AVJZWR57B2YQOLNY/4e897a6125afc69e-DSC_0070.png Louis Zoellar Bickett KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560019623487-KUDFP711FZJQ7XBVA2DS/ecdfc7ad7d19f2fe-DSC_0069.png Louis Zoellar Bickett KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557927376610-R8VIB0PE2KF6H5N70Q24/dogbrush2.jpg Louis Zoellar Bickett KY - Louis Zoellar Bickett Louis https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560019488645-VLZMC8X9QH1UK8CJSW2Y/19c85985e516e941-DSC_0079.png Louis Zoellar Bickett KY - Installation View https://www.institute193.org/exhibitions-eric-rhein-ky daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560023409653-N6MUIN95Q0XID4VS5J7O/14_Rhein_Lifeline_Me+and+Ken_1996.jpg Exhibitions: Eric Rhein KY - Eric Rhein, Lifeline (self-portrait with Ken Davis), 1996, silver gelatin print, 16 x 20 inches Eric Rhein Lifelines June 19 – July 24, 2019 Artist Reception: June 28, 4 – 8 PM Coinciding with the 50th anniversary of the Stonewall riots Institute 193, Lexington Institute 193 is pleased to present the first Kentucky exhibition of artwork by Eric Rhein. With family heritage in Appalachia, New York-based Rhein has gained international recognition as an artist whose artwork embodies themes of love, sexuality, and identity through his ever-evolving experience with HIV. A series of photographs, taken over the course of almost two decades, serves as the focus of the exhibition. They were taken during a period roughly parallel to Rhein’s diagnosis with HIV in 1987—after which he encountered compromised health and near death—through to his experience of a renewed sense of vitality after life-saving drugs were introduced in the mid-90s. The images highlight the role of intimacy and care as survival tactics in their depiction of one person's response to a global and ongoing crisis. Also on view are related bodies of work in video, wire drawing, and watercolor that evoke spiritual and mystic readings of lineage, family, and healing indicative of Rhein’s understanding of the world around him. A corresponding exhibition will be held at 21c Lexington, opening on June 19 and running through September. Additionally, the first full length book on Rhein’s work, also called Lifelines is due out from Institute 193 Press this summer. Eric dedicates these exhibitions to the memory of his uncle Lige (Elijah) Clarke, from Hindman, Kentucky, a leading pioneer in the gay rights movement of the 1960s and ‘70s. Funding for this exhibition is provided in part by a grant from JustFundKY. Eric Rhein received his BFA and MFA at the School of Visual Arts. His work has been exhibited widely, including at the Victoria and Albert Museum, the Museum of the City of New York, the Leslie-Lohman Museum, the Bronx Museum of the Arts, and American Embassies in Austria, Cameroon, Greece, and Malta. Reviews of Rhein’s work have appeared in The New York Times, the Huffington Post, Art News, and Art In America. Eric is included in the Smithsonian Archives of American Art's "Visual Arts & the AIDS Epidemic Oral History Project.” Press: Photos Elegant and Elegiac by Michael Quinn, The Gay & Lesbian Review, January 3, 2021 Longtime Survivor Eric Rhein’s Art Book ‘Lifelines’ Marries ‘90s Gay Portraiture and Delicate Collage Art by Tim Murphy, TheBody, November 3, 2020 Cultivating Kentucky’s LGBTQ History by the Faulkner Morgan Archive, October 29, 2020 A Conversation with Artist Eric Rhein by Todd Lanier Lester, Luv ‘Til it Hurts, August, 2019 Close Look: Eric Rhein at Institute 193 in Lexington by BURNAWAY writers, BURNAWAY, July 27, 2019 Interview with Eric Rhein and Silas House by Tom Godell, The Agenda, WUKY, July 1, 2019 Eric Rhein Celebrates Stonewall with Two Kentucky Exhibitions by Hank Trout, A&U Magazine, June 26, 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560023409653-N6MUIN95Q0XID4VS5J7O/14_Rhein_Lifeline_Me+and+Ken_1996.jpg Exhibitions: Eric Rhein KY - Eric Rhein, Lifeline (self-portrait with Ken Davis), 1996, silver gelatin print, 16 x 20 inches Eric Rhein Lifelines June 19 – July 24, 2019 Artist Reception: June 28, 4 – 8 PM Coinciding with the 50th anniversary of the Stonewall riots Institute 193, Lexington Institute 193 is pleased to present the first Kentucky exhibition of artwork by Eric Rhein. With family heritage in Appalachia, New York-based Rhein has gained international recognition as an artist whose artwork embodies themes of love, sexuality, and identity through his ever-evolving experience with HIV. A series of photographs, taken over the course of almost two decades, serves as the focus of the exhibition. They were taken during a period roughly parallel to Rhein’s diagnosis with HIV in 1987—after which he encountered compromised health and near death—through to his experience of a renewed sense of vitality after life-saving drugs were introduced in the mid-90s. The images highlight the role of intimacy and care as survival tactics in their depiction of one person's response to a global and ongoing crisis. Also on view are related bodies of work in video, wire drawing, and watercolor that evoke spiritual and mystic readings of lineage, family, and healing indicative of Rhein’s understanding of the world around him. A corresponding exhibition will be held at 21c Lexington, opening on June 19 and running through September. Additionally, the first full length book on Rhein’s work, also called Lifelines is due out from Institute 193 Press this summer. Eric dedicates these exhibitions to the memory of his uncle Lige (Elijah) Clarke, from Hindman, Kentucky, a leading pioneer in the gay rights movement of the 1960s and ‘70s. Funding for this exhibition is provided in part by a grant from JustFundKY. Eric Rhein received his BFA and MFA at the School of Visual Arts. His work has been exhibited widely, including at the Victoria and Albert Museum, the Museum of the City of New York, the Leslie-Lohman Museum, the Bronx Museum of the Arts, and American Embassies in Austria, Cameroon, Greece, and Malta. Reviews of Rhein’s work have appeared in The New York Times, the Huffington Post, Art News, and Art In America. Eric is included in the Smithsonian Archives of American Art's "Visual Arts & the AIDS Epidemic Oral History Project.” Press: Photos Elegant and Elegiac by Michael Quinn, The Gay & Lesbian Review, January 3, 2021 Longtime Survivor Eric Rhein’s Art Book ‘Lifelines’ Marries ‘90s Gay Portraiture and Delicate Collage Art by Tim Murphy, TheBody, November 3, 2020 Cultivating Kentucky’s LGBTQ History by the Faulkner Morgan Archive, October 29, 2020 A Conversation with Artist Eric Rhein by Todd Lanier Lester, Luv ‘Til it Hurts, August, 2019 Close Look: Eric Rhein at Institute 193 in Lexington by BURNAWAY writers, BURNAWAY, July 27, 2019 Interview with Eric Rhein and Silas House by Tom Godell, The Agenda, WUKY, July 1, 2019 Eric Rhein Celebrates Stonewall with Two Kentucky Exhibitions by Hank Trout, A&U Magazine, June 26, 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560023492242-JW0O7M52Z8U7AXNI5AM4/4_Rhein_William_Silhouette_WilliamWeichert_1992.jpg Exhibitions: Eric Rhein KY - William - Silhouette (William Weichert, Martha’s Vineyard), 1992, silver gelatin print, 20 x16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560023562836-F674EH1BG7JCJXJUGLEK/9_Rhein_Visitation_FIreIsland_2012.jpg Exhibitions: Eric Rhein KY - Visitation (Fire Island), 2012, silver gelatin print, 24 x 20 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560023637558-CVFNYNAVLGW3ZMC1735P/8_Rhein_River_SelfPortrait+with+RussellSharon_1994.jpg Exhibitions: Eric Rhein KY - River (self-portrait with Russell Sharon, Delaware Water Gap), 1994, silver gelatin print, 24 x 20 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563566775383-6ATXYR9KS09G33U6SK3Y/6_Rhein_Negative+Space_JefferyAlbanesi_1993.jpg Exhibitions: Eric Rhein KY - Negative Space (Jefferey Albanesi), 1993, silver gelatin print, 20 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563566847325-C7QHR4PPLA9EDT0O7Y0O/12_Rhein_Kinsman_Self+Portrait_1996.jpg Exhibitions: Eric Rhein KY - Kinsmen (self-portrait, the MacDowell Colony), 1996, silver gelatin print, 20 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563566870307-9CI4M2C4Y3OSZR5CBFGI/EricRhein_Embrace_SelfPortrait+With+JefferyAlbanesi_1_1993.jpg Exhibitions: Eric Rhein KY - Embrace 1 (self-portrait with Jeffery Albanesi), 1993, silver gelatin print, 20 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563566936255-OY7E0UJB2DMMCDE9WE24/EricRhein_Embrace_SelfPortrait+With+JefferyAlbanesi_3_1993.jpg Exhibitions: Eric Rhein KY - Embrace 3 (self-portrait with Jeffery Albanesi), 1993, silver gelatin print, 20 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563566957166-RJ7BX4QJ8G018VQLQBO7/EricRhein_Embrace_SelfPortrait+With+JefferyAlbanesi_4_1993.jpg Exhibitions: Eric Rhein KY - Embrace 4 (self-portrait with Jeffery Albanesi), 1993, silver gelatin print, 20 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563566987069-9XDMBLJGC4R9RW0I6NIG/3_Rhein_Gaze_WilliamWeichert_1992.jpg Exhibitions: Eric Rhein KY - William - Gaze (William Weichert, Martha's Vineyard), 1992, silver gelatin print, 20 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563567022734-0F60C6L38PQPELZURJQ8/13_Rhein_Ken_Sleep_KenDavis_1996.jpg Exhibitions: Eric Rhein KY - Ken - Sleep (Ken Davis), 1996, silver gelatin print, 16 x 20 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563566347572-1RVRI3LPRIM52LP0X9AU/16_Rhein_Morning+Sun.jpg Exhibitions: Eric Rhein KY - Untitled (from Hospital Drawings), 1994, mixed media, 8.5 x 11 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563567050478-68CSPH601680DS4IHYP4/13_Rhein_Kissing+Ken_SelfPortriat+with+KenDavis_1996.jpg Exhibitions: Eric Rhein KY - Kissing Ken (self-portrait with Ken Davis), 1996, silver gelatin print, 16 x 20 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563566347916-ONY65BRJXRRYDK520QO7/18_Rhein_A+Mother+Tears.jpg Exhibitions: Eric Rhein KY - Untitled (from Hospital Drawings), 1994, mixed media, 8.5 x 11 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563566350641-RVB239VLTOBC7FK7C6MI/20_Rhein_Jamies+Tears.jpg Exhibitions: Eric Rhein KY - Untitled (from Hospital Drawings), 1994, mixed media, 8.5 x 11 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563566411448-YIYXOHA8L2DES16DK4UJ/1_EricRhein_Life+Atterning+Spencer_SpencerCox.jpg Exhibitions: Eric Rhein KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563566411667-C70PPFYVJWX807VCXABJ/2_Rhein_+Frank+the+VisionKeeper_FrankMoore_2014.jpg Exhibitions: Eric Rhein KY - Frank the Visionkeeper (Frank Moore 1956-2002), 2013, wire and paper, 16 x 12 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563566413315-VJGFE5ZD1C26KMTAQBLI/3_EricRhein_Martin+Wong.jpg Exhibitions: Eric Rhein KY - Multicultural Martin (Martin Wong), wire and paper, 16 x 13 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563566413651-SHM831DGG04SCAF5VVE7/4_EricRhein_MarkMorrisroe_1996.jpg Exhibitions: Eric Rhein KY - Legendary Mark (Mark Morrisroe 1959-1989), 2018, wire and paper, 16 x 13 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563566416257-NZX37747II5AP9RK71SU/Hummingbird_21_FLyingEast.jpg Exhibitions: Eric Rhein KY - Hummingbird #21 - Flying East, 2019, wire and paper, 16 x 13 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1564328483858-N32UFQHP54IGMJ8MHSDC/ERinstall1.jpg Exhibitions: Eric Rhein KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1564328536592-KJ3C58H3M0FNOUGPBAJN/Erinstall2.jpg Exhibitions: Eric Rhein KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1564328584208-EYY7CUTYUY86UC66Z7ZO/ERinstall3.jpg Exhibitions: Eric Rhein KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1564328651714-4YEDDEZOKC4DCADIULR4/Erinstall4.jpg Exhibitions: Eric Rhein KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1564328693813-BTLYR2B2ZHGZG77ZUBNC/ERinstall5.jpg Exhibitions: Eric Rhein KY - Installation View https://www.institute193.org/exhibitions-stan-vanderbeek-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560018451104-BY8234K2822Q318I2GKZ/90ec9659f6db2a0f-vanderbeek_microcosmos-300dpi.jpg Stan VanDerBeek - Stan VanDerBeek, Micro Cosmos, 1983 - Courtesy Electronic Arts Intermix (EAI), New York Stan VanDerBeek Form Comes Out of Chaos July 6 – August 12, 2017 Institute 193, Lexington Towards the end of his life, in the early '80s, pioneering computer artist and avant-garde filmmaker Stan VanDerBeek came to Lexington to work on a series of videos for Kentucky Educational Television (KET), thanks to funding from the National Endowment for the Arts under a grant for experiments in video. To follow the artist’s process, KET produced a documentary, Form Comes Out of Chaos, which was released in 1984 and became one of the last records of the artist’s life and work. To this day, it’s unclear what drew him to Lexington. It was at Black Mountain College that VanDerBeek, surrounded by a community of artists invested in experimentation and the implementation of new visual paradigms, was able to refine and expand his creative practice. Constantly working with new technologies throughout his career, in the mid-'60s, he began using computers to generate animated short films during a residency at Bell Labs. Collaborating with programmer Ken Knowlton, he used BEFLIX (Bell Labs Flicks) to create “expanded cinema” works that have since served as precursors to the computer-generated imagery (CGI) technologies used in films today. Like many of his contemporaries, his work was driven by a political voice, ultimately bent towards the pursuit of a utopian aesthetic. VanDerBeek’s film works produced in Kentucky were no exception. One of the films, After Laughter, follows a figure functioning as a stand-in for humankind that performs increasingly destructive and violent tasks, ultimately driven to obliteration. The work, meant as a condemnation of nuclear war—a threat that once again seems relevant—was included in the 1983 Whitney Biennial. The other two works made during his time at KET, Micro Cosmos 1-4, and Self-Poured Traits, speak to VanDerBeek’s utopian pursuit, especially his belief that democratic access to technology and the establishment of a global communication network would lead to a more equitable world. Whether this has occurred, now that these networks exist, remains to be seen. Stan VanDerBeek: Form Comes Out of Chaos will be the first public screening of the artist's videos in Lexington. During his lifetime, Stan VanDerBeek held artist residencies at Bell Labs, NASA, and KET. His work was shown at national and international exhibitions and film festivals, including the 1974 Cannes Film Festival and 1983 Whitney Biennial. In more recent years, his films and video installations have been featured in a major retrospective exhibition at the Massachusetts Institute of Technology (MIT) List Visual Arts Center (Cambridge, MA) in 2011, the 2013 Venice Biennale, and Art Basel Unlimited 2017 with The Box (Los Angeles, CA). This exhibition has been made possible thanks to Electronic Arts Intermix (EAI), The Estate of Stan VanDerBeek, Kentucky Educational Television (KET), and Robert Beatty. Videos courtesy Electronic Arts Intermix (EAI), New York. View Self Poured Traits, 1983 here. View Micro Cosmos (1-4), 1983 here. View After Laughter, 1983 here. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560018451104-BY8234K2822Q318I2GKZ/90ec9659f6db2a0f-vanderbeek_microcosmos-300dpi.jpg Stan VanDerBeek - Stan VanDerBeek, Micro Cosmos, 1983 - Courtesy Electronic Arts Intermix (EAI), New York Stan VanDerBeek Form Comes Out of Chaos July 6 – August 12, 2017 Institute 193, Lexington Towards the end of his life, in the early '80s, pioneering computer artist and avant-garde filmmaker Stan VanDerBeek came to Lexington to work on a series of videos for Kentucky Educational Television (KET), thanks to funding from the National Endowment for the Arts under a grant for experiments in video. To follow the artist’s process, KET produced a documentary, Form Comes Out of Chaos, which was released in 1984 and became one of the last records of the artist’s life and work. To this day, it’s unclear what drew him to Lexington. It was at Black Mountain College that VanDerBeek, surrounded by a community of artists invested in experimentation and the implementation of new visual paradigms, was able to refine and expand his creative practice. Constantly working with new technologies throughout his career, in the mid-'60s, he began using computers to generate animated short films during a residency at Bell Labs. Collaborating with programmer Ken Knowlton, he used BEFLIX (Bell Labs Flicks) to create “expanded cinema” works that have since served as precursors to the computer-generated imagery (CGI) technologies used in films today. Like many of his contemporaries, his work was driven by a political voice, ultimately bent towards the pursuit of a utopian aesthetic. VanDerBeek’s film works produced in Kentucky were no exception. One of the films, After Laughter, follows a figure functioning as a stand-in for humankind that performs increasingly destructive and violent tasks, ultimately driven to obliteration. The work, meant as a condemnation of nuclear war—a threat that once again seems relevant—was included in the 1983 Whitney Biennial. The other two works made during his time at KET, Micro Cosmos 1-4, and Self-Poured Traits, speak to VanDerBeek’s utopian pursuit, especially his belief that democratic access to technology and the establishment of a global communication network would lead to a more equitable world. Whether this has occurred, now that these networks exist, remains to be seen. Stan VanDerBeek: Form Comes Out of Chaos will be the first public screening of the artist's videos in Lexington. During his lifetime, Stan VanDerBeek held artist residencies at Bell Labs, NASA, and KET. His work was shown at national and international exhibitions and film festivals, including the 1974 Cannes Film Festival and 1983 Whitney Biennial. In more recent years, his films and video installations have been featured in a major retrospective exhibition at the Massachusetts Institute of Technology (MIT) List Visual Arts Center (Cambridge, MA) in 2011, the 2013 Venice Biennale, and Art Basel Unlimited 2017 with The Box (Los Angeles, CA). This exhibition has been made possible thanks to Electronic Arts Intermix (EAI), The Estate of Stan VanDerBeek, Kentucky Educational Television (KET), and Robert Beatty. Videos courtesy Electronic Arts Intermix (EAI), New York. View Self Poured Traits, 1983 here. View Micro Cosmos (1-4), 1983 here. View After Laughter, 1983 here. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560018436304-M1D746ORBF2W5P4HYKFX/0dc241643a58a1a2-VANDERBEEK_INSTALL1copy.jpg Stan VanDerBeek - Installation View https://www.institute193.org/exhibitions-robert-tharsing-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560105486862-SCPAFO2FP0N3DJDSZEAL/23fc9a84d453e413-RT3+%281%29.jpg Exhibitions: Robert Tharsing KY - Robert Tharsing, Title Unknown, 1979, cloth, polymer medium, acrylic, 35 x 30 inches Robert Tharsing Second-Hand Shapes May 4 – May 20, 2017 Institute 193, Lexington Robert Tharsing: Second Hand Shapes is a pop-up exhibition coinciding with retrospectives honoring the artist at the Lexington Art League and Ann Tower Gallery. Institute 193 will exhibit a series of painted clothes created by Robert Tharsing in 1979. At the time, Tharsing wanted to work beyond the traditional stretched canvas and was exploring new surfaces to paint on. Experimentation led him to search local thrift stores around Lexington where he found inspiration looking at the colorful shirts, bell-bottoms, and mini-skirts popular during the late 1970s. Tharsing poured polymer medium on the found material in order to create a sealed surface suitable for painting. Once they were dry, the clothes were hung on the walls of the studio and treated as a canvas. The bright colors are applied in expressionistic brush strokes, a lyricism occasionally broken up by geometric shapes. By folding the end of a dress or the sleeve of a shirt, the artist created a sensation of movement. The composition and pattern of the textiles are still visible under the paint creating several layers of colors and textures. The familiar shapes of crop-tops and bell bottoms are visible, one might even wish to wear them; however, the components of these unusual canvases have given up their function in order to become permanently fixed vehicles for Tharsing’s exploration of form, color and texture, consistent with his other bodies of work. Robert Tharsing (1943–2015) was an Associate Professor in the Department of Art at the University of Kentucky from 1971 until 2002, when he retired to work full-time in his studios in Lexington and Mahone Bay, Nova Scotia. Tharsing’s work has been shown regionally, nationally, and internationally and is held in many private and public collections, including the University of Kentucky Art Museum, the Kentucky Clinic, the UK Chandler Hospital, and St. Joseph’s Hospital in Lexington, Kentucky and the Speed Art Museum in Louisville, KY. His latest paintings were the subject of a solo exhibition at Christian Berst Gallery, NY titled Paradise Interrupted in 2015. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560105486862-SCPAFO2FP0N3DJDSZEAL/23fc9a84d453e413-RT3+%281%29.jpg Exhibitions: Robert Tharsing KY - Robert Tharsing, Title Unknown, 1979, cloth, polymer medium, acrylic, 35 x 30 inches Robert Tharsing Second-Hand Shapes May 4 – May 20, 2017 Institute 193, Lexington Robert Tharsing: Second Hand Shapes is a pop-up exhibition coinciding with retrospectives honoring the artist at the Lexington Art League and Ann Tower Gallery. Institute 193 will exhibit a series of painted clothes created by Robert Tharsing in 1979. At the time, Tharsing wanted to work beyond the traditional stretched canvas and was exploring new surfaces to paint on. Experimentation led him to search local thrift stores around Lexington where he found inspiration looking at the colorful shirts, bell-bottoms, and mini-skirts popular during the late 1970s. Tharsing poured polymer medium on the found material in order to create a sealed surface suitable for painting. Once they were dry, the clothes were hung on the walls of the studio and treated as a canvas. The bright colors are applied in expressionistic brush strokes, a lyricism occasionally broken up by geometric shapes. By folding the end of a dress or the sleeve of a shirt, the artist created a sensation of movement. The composition and pattern of the textiles are still visible under the paint creating several layers of colors and textures. The familiar shapes of crop-tops and bell bottoms are visible, one might even wish to wear them; however, the components of these unusual canvases have given up their function in order to become permanently fixed vehicles for Tharsing’s exploration of form, color and texture, consistent with his other bodies of work. Robert Tharsing (1943–2015) was an Associate Professor in the Department of Art at the University of Kentucky from 1971 until 2002, when he retired to work full-time in his studios in Lexington and Mahone Bay, Nova Scotia. Tharsing’s work has been shown regionally, nationally, and internationally and is held in many private and public collections, including the University of Kentucky Art Museum, the Kentucky Clinic, the UK Chandler Hospital, and St. Joseph’s Hospital in Lexington, Kentucky and the Speed Art Museum in Louisville, KY. His latest paintings were the subject of a solo exhibition at Christian Berst Gallery, NY titled Paradise Interrupted in 2015. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560105341895-JQLEYLNNIIV5CKMG0QUT/7a14b8b0534492c5-RT1+%281%29.jpg Exhibitions: Robert Tharsing KY - Robert Tharsing, Title Unknown, 1979, Cloth, polymer medium, acrylic, 42 x 40 inches Robert Tharsing Second-Hand Shapes May 4 - May 20, 2017 Lexington, KY Robert Tharsing: Second Hand Shapes is a pop-up exhibition coinciding with retrospectives honoring the artist at the Lexington Art League and Ann Tower Gallery. Institute 193 will exhibit a series of painted clothes created by Robert Tharsing in 1979. At the time, Tharsing wanted to work beyond the traditional stretched canvas and was exploring new surfaces to paint on. Experimentation led him to search local thrift stores around Lexington where he found inspiration looking at the colorful shirts, bell-bottoms, and mini-skirts popular during the late 1970s. Tharsing poured polymer medium on the found material in order to create a sealed surface suitable for painting. Once they were dry, the clothes were hung on the walls of the studio and treated as a canvas. The bright colors are applied in expressionistic brush strokes, a lyricism occasionally broken up by geometric shapes. By folding the end of a dress or the sleeve of a shirt, the artist created a sensation of movement. The composition and pattern of the textiles are still visible under the paint creating several layers of colors and textures. The familiar shapes of crop-tops and bell bottoms are visible, one might even wish to wear them; however, the components of these unusual canvases have given up their function in order to become permanently fixed vehicles for Tharsing’s exploration of form, color and texture, consistent with his other bodies of work. Robert Tharsing (1943-2015) was an Associate Professor in the Department of Art at the University of Kentucky from 1971 until 2002, when he retired to work full-time in his studios in Lexington and Mahone Bay, Nova Scotia. Tharsing’s work has been shown regionally, nationally, and internationally and is held in many private and public collections, including the University of Kentucky Art Museum, the Kentucky Clinic, the UK Chandler Hospital, and St. Joseph’s Hospital in Lexington, Kentucky and the Speed Art Museum in Louisville, KY. His latest paintings were the subject of a solo exhibition at Christian Berst Gallery, NY titled ‘Paradise Interrupted’ in 2015. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560105408673-HK92ZJLGC1KK2V56QOQA/83a70acadc38e3a4-croptop+%281%29.jpg Exhibitions: Robert Tharsing KY - Robert Tharsing, Title Unknown, 1979, cloth, polymer medium, acrylic, 42 x 40 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560105466073-9X2KG9CQG4OOA8ESBLXB/93d127d1e752364c-RT2+%281%29.jpg Exhibitions: Robert Tharsing KY - Robert Tharsing, Title Unknown, 1979, cloth, polymer medium, acrylic, 38 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560104840616-CS0JNBQ13V47F4G7I8B2/87a9d2e114602f1e-RT4.jpg Exhibitions: Robert Tharsing KY - Robert Tharsing, Title Unknown, 1979, cloth, polymer medium, acrylic, 52 x 26 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560104849580-F9HH2CIBA8PVZ5EOPWHI/8e6efa1c8d4c499b-RT5.jpg Exhibitions: Robert Tharsing KY - Robert Tharsing, Title Unknown, 1979, cloth, polymer medium, acrylic, 46 x 29 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560104857593-RZ3IO4022K2W9S4UC8U8/60e80a8db9570042-shorts.jpg Exhibitions: Robert Tharsing KY - Robert Tharsing, Title Unknown, 1979, cloth, polymer medium, acrylic, 14.5 x 20.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560104864930-J35UNNVWB2RJTGSXQCUQ/2e72df1b2279211c-RT_INSTALL_1.jpg Exhibitions: Robert Tharsing KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560104873259-18O5P7S0LJYTHIB5LALG/955045bb5cf1fc56-RTinstall.jpg Exhibitions: Robert Tharsing KY - Installation View https://www.institute193.org/exhibitions-eric-oglander-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560114398337-UEE7ZSX8VZSI2CQZDA8C/076618619a50a95d-4_SPOONS.jpg Exhibitions: Eric Oglander KY - Eric Oglander, Four honeysuckle spoons, 2017, wood, various sizes Eric Oglander Making Tools March 31 – April 29, 2017 Institute 193, Lexington Eric Oglander grew up in rural Tennessee, passing his idle hours fishing, adventuring, and reveling in the forest’s unknown depths. Nature served as his earliest inspiration and drove him to pursue art. Eventually, he left the woods behind to pursue a career in New York City, but the separation from the place that had so wholly informed his artistic process proved trying. In an effort to adapt to this new and decidedly urban environment, he began to learn, often via YouTube tutorials, traditional crafting methods, working with his hands to create tools and objects out of found organic materials. The resulting sculptures are personal and tactile—uniting his predilection and concern for permaculture, bushcraft and more traditional skill sets. These elegant, precious, and seemingly fragile tools prove a startling contrast to their supposedly utilitarian nature. Beginning March 31, Eric Oglander will spend two weeks in residency at Institute 193, utilizing traditional methods to make unconventional tools from found materials. The resulting objects will be on display for the duration of the exhibition. Additionally, Oglander will produce a series of YouTube videos documenting his process. Oglander’s interest in popular digital platforms extends beyond this practice. His project Craigslist Mirrors, and its accompanying book consists of a collection of found images of mirrors for sale appropriated from Craigslist. Again, he uses YouTube as a contemporary method of distributing, collecting, and consuming knowledge, especially skills that would have, in other times or cultural settings, been passed down from person to person. According to the artist, “the confluence of one of the more influential websites of our time and many of the oldest skills known is a compelling union. YouTube has become our generation’s hand axe, our wheel. It’s a universal tool.” The theme of the free-spread, democratic sharing of this kind of knowledge is inherent in much of his work. A series of tensions play out in Oglander’s objects and practice: city versus country; digital versus manual technologies; usefulness versus obsolescence, art versus craft. He is able to exist comfortably in the liminal space between this multitude of polls, raising questions without answering them. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560114398337-UEE7ZSX8VZSI2CQZDA8C/076618619a50a95d-4_SPOONS.jpg Exhibitions: Eric Oglander KY - Eric Oglander, Four honeysuckle spoons, 2017, wood, various sizes Eric Oglander Making Tools March 31 – April 29, 2017 Institute 193, Lexington Eric Oglander grew up in rural Tennessee, passing his idle hours fishing, adventuring, and reveling in the forest’s unknown depths. Nature served as his earliest inspiration and drove him to pursue art. Eventually, he left the woods behind to pursue a career in New York City, but the separation from the place that had so wholly informed his artistic process proved trying. In an effort to adapt to this new and decidedly urban environment, he began to learn, often via YouTube tutorials, traditional crafting methods, working with his hands to create tools and objects out of found organic materials. The resulting sculptures are personal and tactile—uniting his predilection and concern for permaculture, bushcraft and more traditional skill sets. These elegant, precious, and seemingly fragile tools prove a startling contrast to their supposedly utilitarian nature. Beginning March 31, Eric Oglander will spend two weeks in residency at Institute 193, utilizing traditional methods to make unconventional tools from found materials. The resulting objects will be on display for the duration of the exhibition. Additionally, Oglander will produce a series of YouTube videos documenting his process. Oglander’s interest in popular digital platforms extends beyond this practice. His project Craigslist Mirrors, and its accompanying book consists of a collection of found images of mirrors for sale appropriated from Craigslist. Again, he uses YouTube as a contemporary method of distributing, collecting, and consuming knowledge, especially skills that would have, in other times or cultural settings, been passed down from person to person. According to the artist, “the confluence of one of the more influential websites of our time and many of the oldest skills known is a compelling union. YouTube has become our generation’s hand axe, our wheel. It’s a universal tool.” The theme of the free-spread, democratic sharing of this kind of knowledge is inherent in much of his work. A series of tensions play out in Oglander’s objects and practice: city versus country; digital versus manual technologies; usefulness versus obsolescence, art versus craft. He is able to exist comfortably in the liminal space between this multitude of polls, raising questions without answering them. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560114412327-UI3JJ0ZUW6CBIRS8IQSP/d2eae305885e8ac4-Big_Mallet_virb.jpg Exhibitions: Eric Oglander KY - Eric Oglander, Mallet, 2017, wood, 16 x 5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560114442343-U72WSQ1TG5XVGT2BEBNH/88ae451eb2edfa59-Buck_saw.jpg Exhibitions: Eric Oglander KY - Eric Oglander, Buck Saw, 2017, wood and saw blade, 20 x 23 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560114469873-7IUM5TH468YVD4KYY909/1368f31824b58175-Basket_1.jpg Exhibitions: Eric Oglander KY - Eric Oglander, Basket, 2017, grape vines, 10 x 10 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560114475615-VDGU6VC96FJG7FH899S9/ef6c0f38316227b7-Laddle_virb.jpg Exhibitions: Eric Oglander KY - Eric Oglander, Ladle, 2017, wood, 17 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560114480373-48OJYIJ7EI20RBMIK4SH/bbd36a7e6699e1d2-Fish_ornament.jpg Exhibitions: Eric Oglander KY - Eric Oglander, Fish Spear, 2017, wood, 24 x 2.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560114467368-2A9IVIRIJTVR9FYNK1US/0b2ee72853b36997-OGLANDER_INSTALL_1.jpg Exhibitions: Eric Oglander KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560114461657-ARDYCH9FGTRVCPCRSLDI/24d630b8148c2c42-EOinstall2.jpg Exhibitions: Eric Oglander KY - Installation View, In Progress https://www.institute193.org/exhibitions-beverly-baker-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560102001814-2YSB6XDQNKXEITW1C6YE/ee375c41917cc1c8-BB_8+%281%29.jpg Exhibitions: Beverly Baker KY - Beverly Baker, Untitled, 2015, ballpoint pen on paper, 15 x 22 inches Beverly Baker Underlying Colors May 25 – July 1, 2017 Institute 193, Lexington When Bruce Burris and Crystal Bader founded Latitude Arts in 2001, Beverly Baker became one of the first artists to take part in their studio program. She has worked there ever since. Before joining Latitude's community, Baker made drawings on discarded confidential documents that she snuck home after her work shifts at a secure paper shredding facility. Prison records, tax forms, and mental health evaluations were transformed into drawing surfaces, giving rise to deeply textured explorations of line, color, and form. She also maintained a regular "studio" on a table at her mother's salon. Beverly Baker drawing begins with the repetitive rendering of a limited set of letters and numbers. “B,” her first initial, is by far the most common. Other letters and numbers may appear at this early stage, and she will occasionally use a complete word inspired by the carefully chosen magazines she keeps on her desk. In time, Baker begins to apply intense, curved pen strokes to cover the surface of the paper. Her lines sweep across the page, arc upward and veer to the right of the sheet. As she works to fill the surface, her marks gradually obliterate the foundational letters and words that lay beneath. Created primarily with a single black ballpoint pen, Baker's works are time intensive, and she may work on the same drawing every day for an entire month. As the surface is gradually filled, patches of color: bluish hues, purple reflections, and deep reds appear. The multiple layers of black ink give the works a reflective intensity, and the surface of the paper, after hours of being worked, over-worked, and burnished, bear a luminous and velvety texture. Baker's spoken vocabulary is limited, but her devotion to language remains undaunted and all-consuming. Her obsession with writing letters and numbers brings up numerous questions. Why does every drawing begin with “B,” the artist's first initial, and why does the artists proceed to obscure it beyond recognition? Does the impulse to employ these signs and signifiers emanate from a desire to communicate or an aesthetic fascination with the symbols themselves? Baker's objective remains up for debate, but her intense dedication to creating remains solid and steadfast. This exhibition was organized in collaboration with the Latitude Artist Community. Support for this exhibition has been graciously provided by Verbal Behavior Consulting, Inc. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560102001814-2YSB6XDQNKXEITW1C6YE/ee375c41917cc1c8-BB_8+%281%29.jpg Exhibitions: Beverly Baker KY - Beverly Baker, Untitled, 2015, ballpoint pen on paper, 15 x 22 inches Beverly Baker Underlying Colors May 25 – July 1, 2017 Institute 193, Lexington When Bruce Burris and Crystal Bader founded Latitude Arts in 2001, Beverly Baker became one of the first artists to take part in their studio program. She has worked there ever since. Before joining Latitude's community, Baker made drawings on discarded confidential documents that she snuck home after her work shifts at a secure paper shredding facility. Prison records, tax forms, and mental health evaluations were transformed into drawing surfaces, giving rise to deeply textured explorations of line, color, and form. She also maintained a regular "studio" on a table at her mother's salon. Beverly Baker drawing begins with the repetitive rendering of a limited set of letters and numbers. “B,” her first initial, is by far the most common. Other letters and numbers may appear at this early stage, and she will occasionally use a complete word inspired by the carefully chosen magazines she keeps on her desk. In time, Baker begins to apply intense, curved pen strokes to cover the surface of the paper. Her lines sweep across the page, arc upward and veer to the right of the sheet. As she works to fill the surface, her marks gradually obliterate the foundational letters and words that lay beneath. Created primarily with a single black ballpoint pen, Baker's works are time intensive, and she may work on the same drawing every day for an entire month. As the surface is gradually filled, patches of color: bluish hues, purple reflections, and deep reds appear. The multiple layers of black ink give the works a reflective intensity, and the surface of the paper, after hours of being worked, over-worked, and burnished, bear a luminous and velvety texture. Baker's spoken vocabulary is limited, but her devotion to language remains undaunted and all-consuming. Her obsession with writing letters and numbers brings up numerous questions. Why does every drawing begin with “B,” the artist's first initial, and why does the artists proceed to obscure it beyond recognition? Does the impulse to employ these signs and signifiers emanate from a desire to communicate or an aesthetic fascination with the symbols themselves? Baker's objective remains up for debate, but her intense dedication to creating remains solid and steadfast. This exhibition was organized in collaboration with the Latitude Artist Community. Support for this exhibition has been graciously provided by Verbal Behavior Consulting, Inc. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560099648987-2Z7M4DV8CBRDVXI37O74/743f64af9e9a6e7c-BB_9.jpg Exhibitions: Beverly Baker KY - Beverly Baker, Untitled, 2015, ballpoint pen on paper, 17.5 x 23.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560099596015-C2O309HU14OXUH59UQ8A/87da09a39ab614a3-BB_4.jpg Exhibitions: Beverly Baker KY - Beverly Baker, Untitled, 2015, ballpoint pen on paper, 15 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560099507536-EZZAEMA1S41WMOSQFM3P/2e976d3cce2b0fb9-BB_5.jpg Exhibitions: Beverly Baker KY - Beverly Baker, Untitled, 2015, ballpoint pen on paper, 15 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560099535394-DCN4E9VXCS8RLH6IDSKY/2427a4c93d321c1a-BB_6.jpg Exhibitions: Beverly Baker KY - Beverly Baker, Untitled, 2015, ballpoint pen on paper, 15 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560099479891-G1B2BYO8S0S3DEUR4M9Z/afbb7affd38e7a57-BB_INSTALL.jpg Exhibitions: Beverly Baker KY - Installation View https://www.institute193.org/exhibitions-moses-tolliver-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561304261686-PQZPSBCOQ91VZVYVAIUU/ee7a270d0f04dd6f-Mose_Tolliver_8_virb.jpg Exhibitions: Moses Tolliver KY - Moses Tolliver, Self Portrait, ca. 1980, acrylic paint on plywood, 32 x 24 inches Moses Tolliver Self-Portraits of Me February 16 – March 25, 2017 Institute 193, Lexington “I paint to keep my head together,” Moses Ernest Tolliver once said to Lee Kogan. He was speaking in reference to a difficult period following an accident that permanently damaged his legs, leaving him unable to walk. Tolliver painted occasionally prior to the accident but was extraordinarily prolific after losing his freedom of movement. Tolliver’s art, despite his condition, rarely shows frustration or anger. In fact, his newfound sedentariness eventually brought people to him, creating opportunities for discussion, friendship, and commerce. He greeted visitors in his modest home in Montgomery, Alabama for more than 25 years, among them museum directors, scholars, and collectors, leading him to be one of the earliest African American vernacular artists to receive popular recognition. One can certainly look at Tolliver’s work through the prism of the African American yard show tradition. Indeed, the first works, executed in the late 1960s, were hung from trees and attached to the fence around his yard, intentionally visible to his neighbors and members of the community. He also painted on roots, branches and other surfaces. After the accident, Tolliver’s paintings were mostly relegated to his house which functioned as a makeshift gallery before joining public and private collections. Moses Tolliver: Self-Portraits of Me features eleven paintings executed in the 1970s and the late 1980s. While his well-known paintings of birds seem naturally to hint at transcendence and freedom, Tolliver’s paintings of himself, in contrast, seem haunted. The most intense self-portraits show red paint dripping from the figure’s lips, strong lines separating the bared, wide-open mouth, poised to scream or perhaps laugh. The gleaming white teeth evoke terror and power. Many figures feature lopsided or misshapen nostrils, eyes are different sizes and have an unnerving effect. Others seem more pacified surrounded by fields of pastel colors. Since the 1970s, Tolliver's palette has alternated between closely related color harmonies and sharply contrasting tones. Curly hair, buttoned up shirt, pipes, and sometimes, on the top of his head, a decorative, “handle-like” object that the artist called a "head bob" are reminiscent of how Tolliver actually looked. These details mark Tolliver’s grotesque figures as human. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561304261686-PQZPSBCOQ91VZVYVAIUU/ee7a270d0f04dd6f-Mose_Tolliver_8_virb.jpg Exhibitions: Moses Tolliver KY - Moses Tolliver, Self Portrait, ca. 1980, acrylic paint on plywood, 32 x 24 inches Moses Tolliver Self-Portraits of Me February 16 – March 25, 2017 Institute 193, Lexington “I paint to keep my head together,” Moses Ernest Tolliver once said to Lee Kogan. He was speaking in reference to a difficult period following an accident that permanently damaged his legs, leaving him unable to walk. Tolliver painted occasionally prior to the accident but was extraordinarily prolific after losing his freedom of movement. Tolliver’s art, despite his condition, rarely shows frustration or anger. In fact, his newfound sedentariness eventually brought people to him, creating opportunities for discussion, friendship, and commerce. He greeted visitors in his modest home in Montgomery, Alabama for more than 25 years, among them museum directors, scholars, and collectors, leading him to be one of the earliest African American vernacular artists to receive popular recognition. One can certainly look at Tolliver’s work through the prism of the African American yard show tradition. Indeed, the first works, executed in the late 1960s, were hung from trees and attached to the fence around his yard, intentionally visible to his neighbors and members of the community. He also painted on roots, branches and other surfaces. After the accident, Tolliver’s paintings were mostly relegated to his house which functioned as a makeshift gallery before joining public and private collections. Moses Tolliver: Self-Portraits of Me features eleven paintings executed in the 1970s and the late 1980s. While his well-known paintings of birds seem naturally to hint at transcendence and freedom, Tolliver’s paintings of himself, in contrast, seem haunted. The most intense self-portraits show red paint dripping from the figure’s lips, strong lines separating the bared, wide-open mouth, poised to scream or perhaps laugh. The gleaming white teeth evoke terror and power. Many figures feature lopsided or misshapen nostrils, eyes are different sizes and have an unnerving effect. Others seem more pacified surrounded by fields of pastel colors. Since the 1970s, Tolliver's palette has alternated between closely related color harmonies and sharply contrasting tones. Curly hair, buttoned up shirt, pipes, and sometimes, on the top of his head, a decorative, “handle-like” object that the artist called a "head bob" are reminiscent of how Tolliver actually looked. These details mark Tolliver’s grotesque figures as human. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561304308670-CXKXWITQ7F4ED0TQE3NC/fce8c675a031f79a-Mose_Tolliver_7_virb.jpg Exhibitions: Moses Tolliver KY - Moses Tolliver, Self Portrait, ca. 1980, house paint on plywood, 24 x 14.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561304231475-KM7TE59QQBENDHD0S4FF/abdd1d63c0a02f24-Mose_Tolliver_10_virb+%281%29.jpg Exhibitions: Moses Tolliver KY - Moses Tolliver, Self Portrait, ca. 1980, house paint on plywood, 31 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561304237844-9PNJTA2I9JH8ULG6F681/a1b2182c1b3c0d78-Mose_Tolliver_6_virb.jpg Exhibitions: Moses Tolliver KY - Moses Tolliver, Me smoking my pipe on pike road with cigar butts in it, ca. 1970, house paint on plywood, 26 x 20.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561304246405-V4M5HRNB2JDNHQ2KDYMR/5d7e56616972478c-MT_SELFPORTRAIT_3_virb.jpg Exhibitions: Moses Tolliver KY - Moses Tolliver, Self Portrait, ca. 1980, house paint on plywood, 28.5 x 20 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561304318171-IOXQYQVGM8JA0RSBECKR/4e745cc764c5d9ed-MT_12.jpg Exhibitions: Moses Tolliver KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561304327276-Q5UN820JHC9HTVWZ91QT/8e7151e09e7ac80b-MT_11.jpg Exhibitions: Moses Tolliver KY - Installation View https://www.institute193.org/exhibitions-james-baker-hall-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306885185-EFZ85DZE95ASKQZ37TTT/1f32d99c80c50025-JBH_12.jpg Exhibitions: James Baker Hall KY - James Baker Hall, Red Morning, 1988, Super 8 video still James Baker Hall Super 8 June 1 – July 9, 2016 Institute 193, Lexington In the late 1980s, James Baker “Jim” Hall pressed pause on his photographic projects and dove into the moving image. Always most captivated by what was closest at hand, he shot countless hours of Super 8 film he used to observe the daily life inside and outside his home in Sadieville, Kentucky. These works build on Hall’s devotion to the intimate and the ordinary, found also in his poems. Though the imagery is of life in Kentucky, his films remain open-ended and connective. He turns clotheslines of wind-drying fabrics into visual poetry and fashions domestic narratives around single colors. Hall filmed his 1984 piece “East & West” from the passenger seat of a car, shooting winding, back country roads that are all undeniably located somewhere in Kentucky reminding viewers of a country drive they might have had. This footage is rarely screened and will be shown publicly by Institute 193 for the duration of the exhibition. The late James Baker Hall (1935–2009) was a Lexington-born poet, novelist, photographer, and teacher. He received his BA in English from the University of Kentucky, studying alongside such notable Kentucky writers as Wendell Berry and Ed McClanahan. He would later teach at UK and several other prestigious academic institutions. One of his close colleagues in photography, Ralph Eugene Meatyard, was recently featured at Institute 193 for his photographs of Thomas Merton. This exhibition has been organized in cooperation with the Lexington Film League; Institute 193 thanks LFL for its support. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306885185-EFZ85DZE95ASKQZ37TTT/1f32d99c80c50025-JBH_12.jpg Exhibitions: James Baker Hall KY - James Baker Hall, Red Morning, 1988, Super 8 video still James Baker Hall Super 8 June 1 – July 9, 2016 Institute 193, Lexington In the late 1980s, James Baker “Jim” Hall pressed pause on his photographic projects and dove into the moving image. Always most captivated by what was closest at hand, he shot countless hours of Super 8 film he used to observe the daily life inside and outside his home in Sadieville, Kentucky. These works build on Hall’s devotion to the intimate and the ordinary, found also in his poems. Though the imagery is of life in Kentucky, his films remain open-ended and connective. He turns clotheslines of wind-drying fabrics into visual poetry and fashions domestic narratives around single colors. Hall filmed his 1984 piece “East & West” from the passenger seat of a car, shooting winding, back country roads that are all undeniably located somewhere in Kentucky reminding viewers of a country drive they might have had. This footage is rarely screened and will be shown publicly by Institute 193 for the duration of the exhibition. The late James Baker Hall (1935–2009) was a Lexington-born poet, novelist, photographer, and teacher. He received his BA in English from the University of Kentucky, studying alongside such notable Kentucky writers as Wendell Berry and Ed McClanahan. He would later teach at UK and several other prestigious academic institutions. One of his close colleagues in photography, Ralph Eugene Meatyard, was recently featured at Institute 193 for his photographs of Thomas Merton. This exhibition has been organized in cooperation with the Lexington Film League; Institute 193 thanks LFL for its support. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306890998-3Y8186CUUG1BBZM4ECKV/c3489ec982c921b7-JBH_2.jpg Exhibitions: James Baker Hall KY - James Baker Hall, East & West, 1984, Super 8 video still https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306896275-7RFGXMON97B7ZBDJ01AP/614b05a6381e173b-JBH_3.jpg Exhibitions: James Baker Hall KY - James Baker Hall, Full Moon Trees, 1988, Super 8 video still https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306900051-M3W4OYHAVH50ZEGS31ZC/f60fc88a61de9a44-JBH_41.jpg Exhibitions: James Baker Hall KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306903026-7LWL6KAT2X3Y4FO7AL8P/b122f741fbec960c-JBH_51.jpg Exhibitions: James Baker Hall KY - Installation View https://www.institute193.org/exhibitions-john-harlan-norris-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561305427606-KTHLXE0J8F4GDHY6PXQZ/faf4c1f75cb00a09-Yeswave_large.jpg Exhibitions: John Harlan Norris KY - John Harlan Norris, Yes Wave, 2016, oil and airbrushed acrylic on canvas, 48 x 36 inches John Harlan Norris Disintegrants January 5 – February 11, 2017 Institute 193, Lexington John Harlan Norris's work explores alternative approaches to portraiture and investigates notions such as occupational identity and virtual constructions of the self. In his new series of paintings, Disintegrants, Norris continues his research on portraiture, here motivated by a sense of disembodiment that emerges out of mediated images, digital information and virtual relationships. “Our physical forms, once the primary source from which our individual identities arose, have begun to feel tangential. We can now construct ourselves in realms that seem no longer determined by our physicality, and in some senses, we can transcend our natural abilities and characteristics." This body of work seeks a form of portraiture that describes the departure of its subjects from their physical entities. These portraits are concerned with more abstract characteristics such as cognition, motivation, and transition. The predominant forms in these works are sourced from abandoned painting stretchers, suggesting an armature that can be both deconstructed and liberated from its previous incarnation. These brightly colored and patterned elements collide and break apart to suggest subjects that correspond to a physical body but are not bound by its limitations. “Ultimately I see these works as neither portraits of our physical forms nor the illusory selves we construct, but rather of the mercurial bodies that exist in between.” https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561305427606-KTHLXE0J8F4GDHY6PXQZ/faf4c1f75cb00a09-Yeswave_large.jpg Exhibitions: John Harlan Norris KY - John Harlan Norris, Yes Wave, 2016, oil and airbrushed acrylic on canvas, 48 x 36 inches John Harlan Norris Disintegrants January 5 – February 11, 2017 Institute 193, Lexington John Harlan Norris's work explores alternative approaches to portraiture and investigates notions such as occupational identity and virtual constructions of the self. In his new series of paintings, Disintegrants, Norris continues his research on portraiture, here motivated by a sense of disembodiment that emerges out of mediated images, digital information and virtual relationships. “Our physical forms, once the primary source from which our individual identities arose, have begun to feel tangential. We can now construct ourselves in realms that seem no longer determined by our physicality, and in some senses, we can transcend our natural abilities and characteristics." This body of work seeks a form of portraiture that describes the departure of its subjects from their physical entities. These portraits are concerned with more abstract characteristics such as cognition, motivation, and transition. The predominant forms in these works are sourced from abandoned painting stretchers, suggesting an armature that can be both deconstructed and liberated from its previous incarnation. These brightly colored and patterned elements collide and break apart to suggest subjects that correspond to a physical body but are not bound by its limitations. “Ultimately I see these works as neither portraits of our physical forms nor the illusory selves we construct, but rather of the mercurial bodies that exist in between.” https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561305449480-OX3WG0ARRTRS2U4PJW8E/9efb621d53da83dd-GazeShifterLarge.jpg Exhibitions: John Harlan Norris KY - John Harlan Norris, Gaze Shifter, 2016, oil on canvas, 36 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561305434885-V5U9OHHVXDJI116BIS5A/32d1b544566b7d44-Heatseeker.jpg Exhibitions: John Harlan Norris KY - John Harlan Norris, Heatseeker, 2016, oil and airbrushed acrylic on canvas, 60 x 40 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561305537051-O0TGPNQNVMGJ8EYHR71U/2085c336d179a6e7-Thoughts+%281%29.jpg Exhibitions: John Harlan Norris KY - John Harlan Norris, Thoughts, 2016, oil on canvas, 24 x 18 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561305412387-U2Y6JAEEBWOXZ33Y9045/eb26923a7b7bfc20-SearchParty.jpg Exhibitions: John Harlan Norris KY - John Harlan Norris, Search Party, 2016, oil airbrushed acrylic and sand on canvas, 36 x 27 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561305442010-EAER1GF8I1JVJMR080SM/8e66ad36406edd1e-Image3-25-17at101PM.jpg Exhibitions: John Harlan Norris KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561305422181-SC31Y7Q2QENR96Z22UMX/e49c5889552c1d5c-Image3-25-17at102PM1.jpg Exhibitions: John Harlan Norris KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561305417304-NO8YMWP0Y1DNN0LYKZLD/eb0a77849ab1dac6-Image3-25-17at102PM.jpg Exhibitions: John Harlan Norris KY - Installation View https://www.institute193.org/off-site-mimi-gross daily 0.75 2020-03-01 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561474926763-PACPM40FOT5S19OM9WPQ/IMG_5340.jpeg Mimi Gross: Lost Atlanta - Installation View Mimi Gross Lost Atlanta Atlanta Contemporary June 20 – August 4, 2019 From 1979–1981, over twenty-eight children and young adults were abducted and murdered in the city of Atlanta. Collectively known as the Atlanta child murders, the killings drew the attention of the nation and altered daily life in the de facto capital of the South. The city imposed curfews. Some parents withdrew their children from school and forbid them from playing outside. On June 21, 1981, Wayne Williams was arrested and ultimately convicted of two murders and sentenced to two consecutive life terms. This past March, the Mayor of Atlanta, Keisha Lance Bottoms, reopened the cases hoping to use modern technology to lead to further convictions. Williams maintains his innocence. On Mother’s Day, May 10, 1981, approximately one month before Williams’s arrest, Mimi Gross, an artist and young single mother had just moved into a new apartment in New York City’s Tribeca neighborhood. She had read about the events in The New York Times and requested that a friend send her a copy of The Washington Post since they had published images of the children. Gross remembers drawing the portraits on the floor of her apartment over a period of a few days—maybe less. The portraits were never intended for public display; they were an essential visual and emotional response to events that overwhelmed Gross, an artist who draws constantly. Indeed, drawing is one of her primary tools for understanding the world and connecting to it. In the mid-1980s, the drawings were nevertheless shown in an exhibition organized by the non-profit group Children in Crisis in Washington DC. Years later, images of the drawings were sent to Toni Morrison for consideration as illustrations for the end pages of a novel she was editing by Toni Cade Bambara. The novel, titled Those Bones Are Not My Child, was released in the year 2000, but the publisher opted to use a map in place of Gross’s drawings. Morrison did, however, admire the drawings in a letter dated 9/4/98. She writes, “I do appreciate your quick response, your work and your clear commitment to memorializing these oh so young people.” Morrison’s use of the word “memorialize” is altogether appropriate. Gross’s drawing, and this book, are tangible reminders of lives lost and time cut short. Viewed nearly forty years after their creation, they have maintained their sense of urgency and exist much like our memories—frozen in time. A publication titled Lost Atlanta, 1981 will be released July 1, 2019. Work courtesy of the Institute 193 and Eric Firestone Gallery. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561474926763-PACPM40FOT5S19OM9WPQ/IMG_5340.jpeg Mimi Gross: Lost Atlanta - Installation View Mimi Gross Lost Atlanta Atlanta Contemporary June 20 – August 4, 2019 From 1979–1981, over twenty-eight children and young adults were abducted and murdered in the city of Atlanta. Collectively known as the Atlanta child murders, the killings drew the attention of the nation and altered daily life in the de facto capital of the South. The city imposed curfews. Some parents withdrew their children from school and forbid them from playing outside. On June 21, 1981, Wayne Williams was arrested and ultimately convicted of two murders and sentenced to two consecutive life terms. This past March, the Mayor of Atlanta, Keisha Lance Bottoms, reopened the cases hoping to use modern technology to lead to further convictions. Williams maintains his innocence. On Mother’s Day, May 10, 1981, approximately one month before Williams’s arrest, Mimi Gross, an artist and young single mother had just moved into a new apartment in New York City’s Tribeca neighborhood. She had read about the events in The New York Times and requested that a friend send her a copy of The Washington Post since they had published images of the children. Gross remembers drawing the portraits on the floor of her apartment over a period of a few days—maybe less. The portraits were never intended for public display; they were an essential visual and emotional response to events that overwhelmed Gross, an artist who draws constantly. Indeed, drawing is one of her primary tools for understanding the world and connecting to it. In the mid-1980s, the drawings were nevertheless shown in an exhibition organized by the non-profit group Children in Crisis in Washington DC. Years later, images of the drawings were sent to Toni Morrison for consideration as illustrations for the end pages of a novel she was editing by Toni Cade Bambara. The novel, titled Those Bones Are Not My Child, was released in the year 2000, but the publisher opted to use a map in place of Gross’s drawings. Morrison did, however, admire the drawings in a letter dated 9/4/98. She writes, “I do appreciate your quick response, your work and your clear commitment to memorializing these oh so young people.” Morrison’s use of the word “memorialize” is altogether appropriate. Gross’s drawing, and this book, are tangible reminders of lives lost and time cut short. Viewed nearly forty years after their creation, they have maintained their sense of urgency and exist much like our memories—frozen in time. A publication titled Lost Atlanta, 1981 will be released July 1, 2019. Work courtesy of the Institute 193 and Eric Firestone Gallery. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561491097650-03R8337TTCYVIAKL44DP/mg-3.jpg Mimi Gross: Lost Atlanta - Mimi Gross, Jeffrey Lamar Mathis, 10, 1981 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561491128404-8OYJLUZMA1S6VUPME5CH/mg-4.jpg Mimi Gross: Lost Atlanta - Mimi Gross, Edward Hope Smith, 14, 1981 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561491170839-GMUVDR134S5QEPL5VZ25/mg-8.jpg Mimi Gross: Lost Atlanta - Mimi Gross, Aaron D. Wyche, 10, 1981 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561491287659-6IDGG30DAESEZ85I0J9B/mg-16.jpg Mimi Gross: Lost Atlanta - Mimi Gross, Michael Cameron McIntosh, 23, 1981 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561491328497-FVQPCZ2TMSRMSTAFZD0J/mg-20.jpg Mimi Gross: Lost Atlanta - Mimi Gross, Patrick Baltazar, 11, 1981 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561491363339-AYFL8KSPXONM3L4U1SWO/mg-22.jpg Mimi Gross: Lost Atlanta - Mimi Gross, Nathaniel Cater, 1981 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561491392418-NJOEE4GGX5W92141WDNO/mg-28.jpg Mimi Gross: Lost Atlanta - Mimi Gross, Yusuf Bell, 9, 1981 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561475519340-QEPT9FFKCNUG2Q9WFT2T/mg-31.jpg Mimi Gross: Lost Atlanta https://www.institute193.org/exhibitions-layet-johnson-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306192609-RPGB2RGS2N93U6F60WRK/794a9400c8e890fa-Image3-25-17at203PM.jpg Exhibitions: Layet Johnson KY - Layet Johnson, MOON, 2016, acrylic and chalk on poster board, 28 x 22 inches Layet Johnson Is This My Tongue September 15 – October 22, 2016 Institute 193, Lexington Institute 193, in conjunction with Good Weather (North Little Rock, AR), is pleased to present Is This My Tongue? an exhibition of paintings and sculptures by Layet Johnson (b. 1985) featuring a work by fellow Arkansan Eddie Lee Kendrick (1928–1992). Is This My Tongue? evokes a drawing by Eddie Lee Kendrick, a custodian at Johnson’s elementary school, that was given to the artist when he was a child. The school’s art teacher recognized Kendrick’s ability and eagerness to draw and set up a desk near the cafeteria so that he could do so during his downtime. This garnered the attention of many of the students, Layet included, who was fascinated by the work and asked for a drawing of his own. Kendrick gave him one the next day. Kendrick would go on to become a celebrated self-taught artist in the region known for his vivid religious imagery, bulbous and impossible airplanes, and fragmented buildings and churches. Kendrick’s drawing has been an ongoing and constant inspiration for Layet’s work since then. In Is This My Tongue? Layet is working to refine his drawing practice, coupling magical realist imagery with technically executed brushwork in the style of commercial sign painting. This is, in his words, a way to attain “a linguistic gravity, a stronger semiotic to a practice rooted in drawing.” These drawings embody extreme legibility. They are signs that don’t necessarily signify anything beyond their own being. A drawing of a saxophone proclaims loudly that it is just that. This shift in focus from content to craft allows for a closer reading of Johnson’s mark making and ability to construct succinct, forceful, and emotional images. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306192609-RPGB2RGS2N93U6F60WRK/794a9400c8e890fa-Image3-25-17at203PM.jpg Exhibitions: Layet Johnson KY - Layet Johnson, MOON, 2016, acrylic and chalk on poster board, 28 x 22 inches Layet Johnson Is This My Tongue September 15 – October 22, 2016 Institute 193, Lexington Institute 193, in conjunction with Good Weather (North Little Rock, AR), is pleased to present Is This My Tongue? an exhibition of paintings and sculptures by Layet Johnson (b. 1985) featuring a work by fellow Arkansan Eddie Lee Kendrick (1928–1992). Is This My Tongue? evokes a drawing by Eddie Lee Kendrick, a custodian at Johnson’s elementary school, that was given to the artist when he was a child. The school’s art teacher recognized Kendrick’s ability and eagerness to draw and set up a desk near the cafeteria so that he could do so during his downtime. This garnered the attention of many of the students, Layet included, who was fascinated by the work and asked for a drawing of his own. Kendrick gave him one the next day. Kendrick would go on to become a celebrated self-taught artist in the region known for his vivid religious imagery, bulbous and impossible airplanes, and fragmented buildings and churches. Kendrick’s drawing has been an ongoing and constant inspiration for Layet’s work since then. In Is This My Tongue? Layet is working to refine his drawing practice, coupling magical realist imagery with technically executed brushwork in the style of commercial sign painting. This is, in his words, a way to attain “a linguistic gravity, a stronger semiotic to a practice rooted in drawing.” These drawings embody extreme legibility. They are signs that don’t necessarily signify anything beyond their own being. A drawing of a saxophone proclaims loudly that it is just that. This shift in focus from content to craft allows for a closer reading of Johnson’s mark making and ability to construct succinct, forceful, and emotional images. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306223625-AV3G2Q9VT2S4BV2ES4W9/df043ac6541bfb25-Image3-25-17at203PM1.jpg Exhibitions: Layet Johnson KY - Layet Johnson, Coupe Copy, 2016, acrylic and chalk on poster board, 28 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306214397-8BG1A4WMCIEAHXEXHD8J/c6479e5696bab012-Image3-25-17at203PM2.jpg Exhibitions: Layet Johnson KY - Layet Johnson, Mojave Phone Booth (760-733-9969), 2016, acrylic and chalk on poster board, 28 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306209278-ZA19PZID69TZN3LXAN4D/af27bc461c784dcc-Image3-25-17at203PM3.jpg Exhibitions: Layet Johnson KY - Layet Johnson, Flowers and Fruit and Vegetables, 2016, acrylic and chalk on poster board, 28 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306264648-F1LX68O4MKB4HTUCV8JH/b11a67e8a22c2093-EddieLeeKendrick-1.jpeg Exhibitions: Layet Johnson KY - Eddie Lee Kendrick, Jesus is a Rock, ca. 1992, colored pencil on paper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306180039-FSGE4EFSJ01BIEJY8RW0/7f2b009f664899bf-P1020805.jpeg Exhibitions: Layet Johnson KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306221014-4JLNJMEF26JDVTP5HF0H/dcd9b4c840a03433-P1020712.jpeg Exhibitions: Layet Johnson KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306200511-8CF0F80UJOH4ZTXHJXFV/56428e9559bd2301-P1020723.jpeg Exhibitions: Layet Johnson KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561306205512-N3Y9O3NS4C476C34V92J/68885ad7a4bd4283-P1020760.jpeg Exhibitions: Layet Johnson KY - Installation View https://www.institute193.org/exhibitions-natalie-baxter-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561562683807-6CUC2S092DHDYIDVUQM5/ac5c996b96874ed5-mysupersweetMsixteen.jpg Exhibitions: Natalie Baxter KY - Natalie Baxter, My Super Sweet M Sixteen, 2015, fabric and polyfill, 20 x 60 x 3.5 inches Natalie Baxter OK-47 March 2 – April 23, 2016 Institute 193, Lexington Floods of recent media coverage have turned the public’s attention to increasingly common mass shootings and conversation to the politics of gun control. Feeling powerless to act within these cycles of destructive outbursts and stagnant Congressional proceedings, Natalie Baxter found an outlet in making her own guns. OK-47 is a series of sewn and stuffed sculptures, many of which are modeled after actual weapons used in recent U.S. mass shootings. With fabric from New York City’s Garment District or her roommate’s Goodwill pile, Baxter turns images of these violent weapons into soft and brightly colored caricatures. Though she now lives in Brooklyn, New York, Baxter grew up in Lexington, Kentucky, a place that introduced her both to gun culture and to sewing. One of her gun-owning acquaintances, her Appalachian grandmother, taught her to quilt when she was young. Firearms are traditionally viewed as objects of power and masculinity, but Baxter is unsettling this image by using a historically feminine craft technique to create non-threatening, non-functioning, and (frankly) flaccid translations. Her guns are more than plush toys, since treating them as such and thrusting them into the hands of children would only serve to familiarize and endear the image of a dangerous weapon. Baxter hopes that the works will act not as a statement for or against guns, but rather as catalysts for open-ended discussions about violence, gender, and ways in which humans relate to one another. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561562683807-6CUC2S092DHDYIDVUQM5/ac5c996b96874ed5-mysupersweetMsixteen.jpg Exhibitions: Natalie Baxter KY - Natalie Baxter, My Super Sweet M Sixteen, 2015, fabric and polyfill, 20 x 60 x 3.5 inches Natalie Baxter OK-47 March 2 – April 23, 2016 Institute 193, Lexington Floods of recent media coverage have turned the public’s attention to increasingly common mass shootings and conversation to the politics of gun control. Feeling powerless to act within these cycles of destructive outbursts and stagnant Congressional proceedings, Natalie Baxter found an outlet in making her own guns. OK-47 is a series of sewn and stuffed sculptures, many of which are modeled after actual weapons used in recent U.S. mass shootings. With fabric from New York City’s Garment District or her roommate’s Goodwill pile, Baxter turns images of these violent weapons into soft and brightly colored caricatures. Though she now lives in Brooklyn, New York, Baxter grew up in Lexington, Kentucky, a place that introduced her both to gun culture and to sewing. One of her gun-owning acquaintances, her Appalachian grandmother, taught her to quilt when she was young. Firearms are traditionally viewed as objects of power and masculinity, but Baxter is unsettling this image by using a historically feminine craft technique to create non-threatening, non-functioning, and (frankly) flaccid translations. Her guns are more than plush toys, since treating them as such and thrusting them into the hands of children would only serve to familiarize and endear the image of a dangerous weapon. Baxter hopes that the works will act not as a statement for or against guns, but rather as catalysts for open-ended discussions about violence, gender, and ways in which humans relate to one another. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561562656298-WHLA0E0AJFNPVQ2R7HPZ/8fa4f6d47d3991b5-wildgoose.jpg Exhibitions: Natalie Baxter KY - Natalie Baxter, Wild Goose, 2015, fabric and polyfill, 19 x 66 x 4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561562696163-COC8BMAMABQOLW4AHPCC/c351b6ba568c86cc-OK47.jpg Exhibitions: Natalie Baxter KY - Natalie Baxter, OK-47, 2015, fabric and polyfill, 17 x 60 x 2.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561562684050-J0MQJOM4DZB1P5U2EL4W/afc300bb504eab3b-NB_2.jpg Exhibitions: Natalie Baxter KY - Natalie Baxter, Hot Shot, 2015, fabric and polyfill, 8 x 13 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561562707576-EYD8KFYT6P18HC29B8VH/fd96dcce17384667-tammygun.jpg Exhibitions: Natalie Baxter KY - Natalie Baxter, Tammy Gun, 2015, fabric and polyfill, 12 x 42 x 8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561562657329-3S82C7TH7IKDIOV7H1O0/103e4c3914aa924e-IMG_5421.jpg Exhibitions: Natalie Baxter KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561562656579-DPHIR60BNH05V5DEY5TC/8ce8bbf0c55a3e25-IMG_5413.jpg Exhibitions: Natalie Baxter KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561562683664-C61DH7CHIYLMCMQEDZWY/9799920ad3aa2107-IMG_5411.jpg Exhibitions: Natalie Baxter KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561562657197-D44DUUG1UUFKTD6W9A32/64f3c950280433fa-IMG_5415.jpg Exhibitions: Natalie Baxter KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561562656769-D4PSJ26TY032LM98P7KJ/31e4bafbd42d17a1-IMG_5424.jpg Exhibitions: Natalie Baxter KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561562683585-F2LA5HKH02KA6P6X5NS8/860ebe16c1f665cb-IMG_5422.jpg Exhibitions: Natalie Baxter KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561562689553-MEO72BEBDOBRCS9NWCXV/b7505095fa653c5a-IMG_5423.jpg Exhibitions: Natalie Baxter KY - Installation View https://www.institute193.org/exhibitions-joy-drury-cox-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561838585145-WP2SB4WFN2ML507CUY60/7fd5991e8331a078-APP_Blockbuster_crop_850_border.jpg Exhibitions: Joy Drury Cox KY - Joy Drury Cox, Untitled (Blockbuster Application), 2006, graphite on paper, 26 x 34 inches Joy Drury Cox Please Print Legibly January 20 – February 27, 2016 Institute 193, Lexington Repeating series of lines, grids, and boxes drawn with graphite on uniform surfaces might seem like an exercise in nihilism, but Joy Drury Cox’s drawings clearly express an awareness beyond themselves. These orthogonal geometries look all too familiar because they are; they depict the underlying structure of the documents about us, for us, by us that record what happened to us. “Forms and Applications” presents a series of drawings of low-wage service industry job applications as well as of bureaucratic forms created to catalog birth, death, and a wide scope of intermediate occurrences. From these, Cox has extracted all of the text, leaving us with minimalist, wordless poems about labor, action, necessity, and time. She humbly questions the space, the forms, of forms. “It is my ongoing belief that it is in these often quiet, overlooked moments and spaces that real truth, power, and meaning lie,” Cox says. Applications for similarly categorized, yet altogether different jobs are all composed within the same standard dimensions of 8.5 x 11-inch paper. How might job applicants respond to the same standard forms and in turn distinguish themselves from others? Does one birth or death certificate justly declare an entrance into or exit from the realm of human life? Such documents are the best means by which we can make an organized account of erratic movements, but can these standard forms accurately account for every unique situation? https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561838585145-WP2SB4WFN2ML507CUY60/7fd5991e8331a078-APP_Blockbuster_crop_850_border.jpg Exhibitions: Joy Drury Cox KY - Joy Drury Cox, Untitled (Blockbuster Application), 2006, graphite on paper, 26 x 34 inches Joy Drury Cox Please Print Legibly January 20 – February 27, 2016 Institute 193, Lexington Repeating series of lines, grids, and boxes drawn with graphite on uniform surfaces might seem like an exercise in nihilism, but Joy Drury Cox’s drawings clearly express an awareness beyond themselves. These orthogonal geometries look all too familiar because they are; they depict the underlying structure of the documents about us, for us, by us that record what happened to us. “Forms and Applications” presents a series of drawings of low-wage service industry job applications as well as of bureaucratic forms created to catalog birth, death, and a wide scope of intermediate occurrences. From these, Cox has extracted all of the text, leaving us with minimalist, wordless poems about labor, action, necessity, and time. She humbly questions the space, the forms, of forms. “It is my ongoing belief that it is in these often quiet, overlooked moments and spaces that real truth, power, and meaning lie,” Cox says. Applications for similarly categorized, yet altogether different jobs are all composed within the same standard dimensions of 8.5 x 11-inch paper. How might job applicants respond to the same standard forms and in turn distinguish themselves from others? Does one birth or death certificate justly declare an entrance into or exit from the realm of human life? Such documents are the best means by which we can make an organized account of erratic movements, but can these standard forms accurately account for every unique situation? https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561838585118-UPF5G3OWBN78W79LTBGH/8bcb8a8dc0449cde-APP_Starbucks_crop_850_border.jpg Exhibitions: Joy Drury Cox KY - Joy Drury Cox, Untitled (Starbucks Application), 2006, graphite on paper, 26 x 34 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561838585351-DEKZ7YT5I7MXDXGMCDZ6/51a9bc899ef731fe-JDC_2copy.jpg Exhibitions: Joy Drury Cox KY - Joy Drury Cox, Untitled (New York Death Certificate), 2015, graphite on paper, 18 x 15 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561838600175-G0P93HRX0BM6UG2Q48GW/748dab4f9d33ef0a-JDC_3copy.jpg Exhibitions: Joy Drury Cox KY - Joy Drury Cox, Untitled (Time Card), 2015, graphite on paper, 18 x 15 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561838602223-BVIE16LBKPL2NWDUOLQB/542649beae6bd5fe-APP_Wendys_crop_850_border.jpg Exhibitions: Joy Drury Cox KY - Joy Drury Cox, Untitled (Barnes and Noble Application), 2006, graphite on paper, 26 x 34 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561838616106-HDP4MZOWSVKJW20IA0YI/b47b957dfee4e835-IMG_5405.jpg Exhibitions: Joy Drury Cox KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561838594754-D0GDU1AZMED61NM8GG2C/3c8befbecd8eefae-IMG_5408.jpg Exhibitions: Joy Drury Cox KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561838594828-RHJABNOZ3AFULCQLLXUO/3aaebd253656c815-IMG_5394.jpg Exhibitions: Joy Drury Cox KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561838601954-NF6ODTJWQU0BW2H34KT7/6018ac93c24eb9cf-IMG_5393.jpg Exhibitions: Joy Drury Cox KY - Installation View https://www.institute193.org/exhibitions-nina-howell-starr-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562957751191-8NCQWX8O45V4TTNT54UN/5a08033ea9aea4a0-cover_reduced1200.jpg Exhibitions: Nina Howell Starr Nina Howell Starr The New Yorker Project November 5 – December 12, 2015 Institute 193, Lexington Nina Howell Starr (1903–2000) was a lifelong advocate on many subjects, with strong opinions on all. These included but were not limited to: modern design, racial equality, good manners, the English language, folk art, women’s rights, photography. Numerous were her letters over the years to editors of art, design, and photography magazines—and her daily reading, The New York Times. Whatever the subject, she was always involved and opinionated. Especially numerous and incisive were Starr‘s opinions on her chosen artistic medium of photography, and she did not suffer fools gladly. When she was guest-curating an exhibition of painter Minnie Evans at the Whitney Museum of American Art, for example, and its then-director, Thomas Armstrong, complained that her photograph of Evans was “blurry,” she replied, indignantly, “Focus is part of the language of photography!” Starr’s quixotic mission to convert The New Yorker magazine to the use of photography stemmed from her awareness of the magazine’s strong graphic traditions. She had long noticed that in addition to the well-known cartoons, each issue of the magazine included dozens of tiny “filler” drawings in black and white. Their size made it imperative that they incorporate strong graphic concision and often an element of visual wit—two primary concerns and characteristics of her own photographs. Starr had been a follower of The New Yorker since it started in 1925, and, fifty years later, she undoubtedly felt that in continuing to neglect the illustrative possibilities of photography into the late 20th century, The New Yorker was for once falling badly behind the times. In September 1979, to prove to The New Yorker that photography could equal if not surpass the effectiveness of drawing, Starr decided she would simply take an existing issue and replace every editorial drawing—except for the cartoons but including the cover—with one of her own photographs and mail the resulting maquette to the art editor. She also made a separate portfolio of all the photographs, printed to size and mounted on card stock. The results—which the magazine sent back to Starr with the knee-jerk response “we do not use photography”—are shown in this exhibition, and tell their own story. Of course, Starr got the last laugh. The New Yorker printed its first photographic illustrations (uncredited) in 1987. In December 1992, thirteen years after the dismissive scrawl to Starr, the magazine announced with some fanfare the appointment of its first “Staff Photographer,” Richard Avedon. This exhibition is presented in conjunction with University of Kentucky Arts in Healthcare. A companion exhibition of Nina Howell Starr’s work, An Empathetic Eye, is on view at the UK Albert B. Chandler Hospital now until March 2016. Nina Howell Starr got a late start as a serious photographer at the age of 53. Born in the same year as Aaron Siskind, Walker Evans and Russell Lee, she stands photographically and professionally outside her own generation, and made much of her best work in her 70s, in New York City, where her colleagues were mostly much younger. Though she was for the most part not an innovator, her vision was fresh and personal, and the work a deeply felt response to genuine necessity, combining compassion, wit, and strong sense of abstraction and design. Nina Howell Starr was born Cornelia Margaret Howell in Newark, New Jersey in 1903. She attended Wellesley College and graduated from Barnard in 1926. In the summer of that year she married Nathan Comfort Starr, an English professor, and they settled initially in Cambridge, Massachusetts, later moving to Williamstown, Massachusetts, Annapolis, Maryland, then Winter Park and Gainesville, Florida, according to the vicissitudes of Nathan Starr’s academic career. From the beginning of her married life, Starr was an informed and passionate follower of modern art and design, and an indefatigable letter-to-the-editor writer and gallery-goer. She took graduate courses in architecture in the mid-’30s at the newly founded Bennington College. Starr was for many years the unpaid representative and tireless advocate of the outsider artist Minnie Evans, whom she met in 1962 and whose works she introduced to galleries and other exhibition spaces in New York, including the Whitney Museum, where she guest-curated Evans’s solo exhibition in 1975. While living in Gainesville in the ‘50s and early-‘60s she became deeply involved in the interrelated issues of housing policy and race relations. All of these different interests very much informed the photographic work that she began seriously in the 1950s when she enrolled as a graduate student at the University of Florida at Gainesville (where her husband was teaching). Starr earned her MFA in photography in 1963 at the age of 60, studying with Van Deren Coke and Jerry Uelsmann. Upon Nathan Starr’s retirement from the University of Florida in 1964, the couple moved to New York City, where Nina quickly became involved in the photographic, artistic and feminist communities. She was a member of New York Professional Women Photographers, 20/20 New York Women Photographers, and The Photographic Historical Society. She exhibited in many group and solo shows. Though she stopped taking photographs in 1985, she continued to participate actively in the art world well into her 90s, attending galleries, exhibiting and publishing her photographs, as well as writing articles, statements and disputatious letters. Starr died in 2000 at the age of 97. —Nathan Kernan https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562957751191-8NCQWX8O45V4TTNT54UN/5a08033ea9aea4a0-cover_reduced1200.jpg Exhibitions: Nina Howell Starr Nina Howell Starr The New Yorker Project November 5 – December 12, 2015 Institute 193, Lexington Nina Howell Starr (1903–2000) was a lifelong advocate on many subjects, with strong opinions on all. These included but were not limited to: modern design, racial equality, good manners, the English language, folk art, women’s rights, photography. Numerous were her letters over the years to editors of art, design, and photography magazines—and her daily reading, The New York Times. Whatever the subject, she was always involved and opinionated. Especially numerous and incisive were Starr‘s opinions on her chosen artistic medium of photography, and she did not suffer fools gladly. When she was guest-curating an exhibition of painter Minnie Evans at the Whitney Museum of American Art, for example, and its then-director, Thomas Armstrong, complained that her photograph of Evans was “blurry,” she replied, indignantly, “Focus is part of the language of photography!” Starr’s quixotic mission to convert The New Yorker magazine to the use of photography stemmed from her awareness of the magazine’s strong graphic traditions. She had long noticed that in addition to the well-known cartoons, each issue of the magazine included dozens of tiny “filler” drawings in black and white. Their size made it imperative that they incorporate strong graphic concision and often an element of visual wit—two primary concerns and characteristics of her own photographs. Starr had been a follower of The New Yorker since it started in 1925, and, fifty years later, she undoubtedly felt that in continuing to neglect the illustrative possibilities of photography into the late 20th century, The New Yorker was for once falling badly behind the times. In September 1979, to prove to The New Yorker that photography could equal if not surpass the effectiveness of drawing, Starr decided she would simply take an existing issue and replace every editorial drawing—except for the cartoons but including the cover—with one of her own photographs and mail the resulting maquette to the art editor. She also made a separate portfolio of all the photographs, printed to size and mounted on card stock. The results—which the magazine sent back to Starr with the knee-jerk response “we do not use photography”—are shown in this exhibition, and tell their own story. Of course, Starr got the last laugh. The New Yorker printed its first photographic illustrations (uncredited) in 1987. In December 1992, thirteen years after the dismissive scrawl to Starr, the magazine announced with some fanfare the appointment of its first “Staff Photographer,” Richard Avedon. This exhibition is presented in conjunction with University of Kentucky Arts in Healthcare. A companion exhibition of Nina Howell Starr’s work, An Empathetic Eye, is on view at the UK Albert B. Chandler Hospital now until March 2016. Nina Howell Starr got a late start as a serious photographer at the age of 53. Born in the same year as Aaron Siskind, Walker Evans and Russell Lee, she stands photographically and professionally outside her own generation, and made much of her best work in her 70s, in New York City, where her colleagues were mostly much younger. Though she was for the most part not an innovator, her vision was fresh and personal, and the work a deeply felt response to genuine necessity, combining compassion, wit, and strong sense of abstraction and design. Nina Howell Starr was born Cornelia Margaret Howell in Newark, New Jersey in 1903. She attended Wellesley College and graduated from Barnard in 1926. In the summer of that year she married Nathan Comfort Starr, an English professor, and they settled initially in Cambridge, Massachusetts, later moving to Williamstown, Massachusetts, Annapolis, Maryland, then Winter Park and Gainesville, Florida, according to the vicissitudes of Nathan Starr’s academic career. From the beginning of her married life, Starr was an informed and passionate follower of modern art and design, and an indefatigable letter-to-the-editor writer and gallery-goer. She took graduate courses in architecture in the mid-’30s at the newly founded Bennington College. Starr was for many years the unpaid representative and tireless advocate of the outsider artist Minnie Evans, whom she met in 1962 and whose works she introduced to galleries and other exhibition spaces in New York, including the Whitney Museum, where she guest-curated Evans’s solo exhibition in 1975. While living in Gainesville in the ‘50s and early-‘60s she became deeply involved in the interrelated issues of housing policy and race relations. All of these different interests very much informed the photographic work that she began seriously in the 1950s when she enrolled as a graduate student at the University of Florida at Gainesville (where her husband was teaching). Starr earned her MFA in photography in 1963 at the age of 60, studying with Van Deren Coke and Jerry Uelsmann. Upon Nathan Starr’s retirement from the University of Florida in 1964, the couple moved to New York City, where Nina quickly became involved in the photographic, artistic and feminist communities. She was a member of New York Professional Women Photographers, 20/20 New York Women Photographers, and The Photographic Historical Society. She exhibited in many group and solo shows. Though she stopped taking photographs in 1985, she continued to participate actively in the art world well into her 90s, attending galleries, exhibiting and publishing her photographs, as well as writing articles, statements and disputatious letters. Starr died in 2000 at the age of 97. —Nathan Kernan https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562599723697-Z6ZSICIS1R6YIUC7J008/8ebd8f3569e95045-Scan42_website.jpg Exhibitions: Nina Howell Starr - Nina Howell Starr, Untitled (#43, p. 97), c. 1970s, photograph on cardstock, 7.75 x 9.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562599759228-0LPTGLYQEZKAIWJCU0YB/0f5454053cb5b0a2-Scan30_website.jpg Exhibitions: Nina Howell Starr - Nina Howell Starr, Untitled (#31, p. 76), c. 1970s, photograph on cardstock, 7.75 x 9.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562599735865-K5N0WL9NFN2PFS6QPRD0/31a05be97ee7f74c-Scan17_website.jpg Exhibitions: Nina Howell Starr - Nina Howell Starr, Untitled (#18, p. 46), c. 1970s, photograph on cardstock, 7.75 x 9.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562599738705-WSJ2LYRW13AD6VD4W227/37a5e2f51174873d-Scan12_website.jpg Exhibitions: Nina Howell Starr - Nina Howell Starr, Untitled (#13, p. 31), c. 1970s, photograph on cardstock, 7.75 x 9.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562599740402-3W5Z657HI0GMQU709T2H/57dad4e7dccdc9bf-Scan_website.jpg Exhibitions: Nina Howell Starr - Nina Howell Starr, Untitled (#1, p. 4), c. 1970s, photograph on cardstock, 7.75 x 9.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562599741380-DZG1OXBVYBLAY6LXU2VZ/83ff6e33aebfd583-Scan4_website.jpg Exhibitions: Nina Howell Starr - Nina Howell Starr, Untitled (#5, p. 12), c. 1970s, photograph on cardstock, 7.75 x 9.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562599753957-I2TA0UXGEZA2VYWTYSO5/addde7c559d249de-IMG_5378_1200w.jpg Exhibitions: Nina Howell Starr - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562599778069-0CJ3RVWBQDABKLCQ1C5X/00d789e3c10ab4be-IMG_53732.jpg Exhibitions: Nina Howell Starr - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562599729104-Q9HAE5NQ4YTM26UXIYB3/6e68ecec21cd3f72-IMG_5354.jpg Exhibitions: Nina Howell Starr - Installation View https://www.institute193.org/off-site-eric-rhein daily 0.75 2020-02-09 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1580594715189-EU49K208RNQH38B9QCF7/1_EricRhein_AutomatedBloodCounts%2BandDifferential.jpg Off Site: Eric Rhein - Eric Rhein, Automated Blood Counts and Differentials, 1998, wire, paper, and found objects, 13 x 16 x 2 inches Eric Rhein Lifelines 21c Museum Hotel, Lexington June 24 – September 8, 2019 With family heritage in Appalachia, New York-based Eric Rhein has gained international recognition as an artist whose work embodies themes of love, sexuality, and identity through his ever-evolving experience with Human Immunodeficiency Virus (HIV). This exhibition focuses on work taken from Rhein’s series of wire drawings of Leaves, which were created as memorials for friends, lovers, and public figures lost to HIV and AIDS (Acquired Immunodeficiency Syndrome). Rhein originally conceived of the work during a residency at the MacDowell Artists Colony in 1996. At that time, he was discovering renewed vitality, due to the effectiveness of then-new HIV medications. As Rhein noted in 1998, “One by one, I picked up leaves until a host of kinsmen was gathered in my arms. In death, they continue to be the teachers that they were in life, generously sharing with me the gifts of their individual attributes.” Also on view are related photographs and wire sculptures that evoke spiritual and mystic readings of lineage, family, and healing, reflecting Rhein’s connections and understanding of the world around him. About Leaves Leaves honors individuals that Eric Rhein has known who have died of complications from AIDS: each is a personal tribute. Since its conception, Leaves has grown to include portraits of more than 300 individuals, reflecting the continuing loss of life due to HIV/AIDS. The artist intends this project Leaves to serve as a means of raising awareness and educating the public about the ongoing pandemic. Biography Raised in New York’s Hudson River Valley, and spending childhood summers in the Appalachian Mountains of Kentucky, Eric Rhein formed a deep affinity with nature, which continues to inspire his multidisciplinary artwork. Influenced by the luminous landscapes that inspired the Hudson River School, Rhein’s art forges an intimate metaphysical and transcendental connection between man and nature. Exploring this complex relationship, Rhein’s work features a vast personal iconography-shaped by the natural environment such as hummingbirds, leaves, deer and other organic forms. Through his powerful metaphorical imagery, Rhein examines the liminal spaces between life and death, the tangible and the ephemeral, and the known and ethereal. Working in a wide range of mediums, including wire drawings, sculpture, photography, and delicate mixed media collage, he handles often salvaged materials with empathetic reverence. Rhein’s considered and intuitive use of repurposed objects is a hallmark of his work, frequently employing materials as varied as wire, plates and pages from vintage scientific journals, hardware, jewelry, crystals and other found objects. For Rhein, the act of giving such cast-offs a new life mirrors the artist’s own spiritual path. Rhein addresses the universal aspects of the human condition—particularly its vulnerability, resilience, and possibilities for transcendence—as experienced after his diagnosis with HIV in 1987. With its explorations of eroticism, beauty and mortality, The New York Times critic Holland Cotter writes that in Rhein’s work, “the combination of art and craft, delicacy and resiliency, feminine and masculine, is exquisitely wrought and is, as it should be, seductive but disturbing.” A presence in Manhattan’s East Village since 1980, Rhein became a part of the neighborhood’s arts community, with artists such as Greer Lankton, Luis Frangella, David Wojnarowicz, Keith Haring, Robert Mapplethorpe, Peter Hujar, and Mark Morrisroe. As the community permanently altered the city’s cultural landscape, it was also profoundly devastated by HIV/AIDS. Through wire portraits, Rhein’s ongoing work Leaves honors individuals he knew who died of complications from AIDS. Initially 80 portraits at its conception in 1996, Leaves has now grown to over 250 portraits—an evolving, personal memorial to the overwhelming losses due to the pandemic. Inspired by his uncle Elijah “Lige” Clarke (an early gay rights activist who, with his partner Jack Nichols, co-founded the first national gay weekly newspaper Gay, and the Washington Mattachine Society), Rhein relates to his art as a form of activism and healing. Rhein received his BFA and MFA degrees through full scholarships at the School of Visual Arts, NY. His work has been exhibited internationally at venues such as: the Victoria and Albert Museum; The New Art Gallery, Walsall, England; the Pera Museum, Istanbul; American embassies in Austria, Cameroon, and Malta; the Addison Gallery of American Art; Lincoln Center; the Morris Museum, Morristown, NJ; the Islip Art Museum, NY; the Leslie-Lohman Museum of Gay and Lesbian Art; the Portland Museum of Art; the Smithsonian’s Traveling Exhibition for the Millennium; Johnson & Johnson, New Brunswick, NJ; and Pavel Zoubok Gallery, New York, NY. Press: A Conversation with Artist Eric Rhein by Todd Lanier Lester, Luv ‘Til it Hurts, August, 2019 Close Look: Eric Rhein at Institute 193 in Lexington by BURNAWAY writers, BURNAWAY, July 27, 2019 Interview with Eric Rhein and Silas House by Tom Godell, The Agenda, WUKY, July 1, 2019 Eric Rhein Celebrates Stonewall with Two Kentucky Exhibitions by Hank Trout, A&U Magazine, June 26, 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1580594715189-EU49K208RNQH38B9QCF7/1_EricRhein_AutomatedBloodCounts%2BandDifferential.jpg Off Site: Eric Rhein - Eric Rhein, Automated Blood Counts and Differentials, 1998, wire, paper, and found objects, 13 x 16 x 2 inches Eric Rhein Lifelines 21c Museum Hotel, Lexington June 24 – September 8, 2019 With family heritage in Appalachia, New York-based Eric Rhein has gained international recognition as an artist whose work embodies themes of love, sexuality, and identity through his ever-evolving experience with Human Immunodeficiency Virus (HIV). This exhibition focuses on work taken from Rhein’s series of wire drawings of Leaves, which were created as memorials for friends, lovers, and public figures lost to HIV and AIDS (Acquired Immunodeficiency Syndrome). Rhein originally conceived of the work during a residency at the MacDowell Artists Colony in 1996. At that time, he was discovering renewed vitality, due to the effectiveness of then-new HIV medications. As Rhein noted in 1998, “One by one, I picked up leaves until a host of kinsmen was gathered in my arms. In death, they continue to be the teachers that they were in life, generously sharing with me the gifts of their individual attributes.” Also on view are related photographs and wire sculptures that evoke spiritual and mystic readings of lineage, family, and healing, reflecting Rhein’s connections and understanding of the world around him. About Leaves Leaves honors individuals that Eric Rhein has known who have died of complications from AIDS: each is a personal tribute. Since its conception, Leaves has grown to include portraits of more than 300 individuals, reflecting the continuing loss of life due to HIV/AIDS. The artist intends this project Leaves to serve as a means of raising awareness and educating the public about the ongoing pandemic. Biography Raised in New York’s Hudson River Valley, and spending childhood summers in the Appalachian Mountains of Kentucky, Eric Rhein formed a deep affinity with nature, which continues to inspire his multidisciplinary artwork. Influenced by the luminous landscapes that inspired the Hudson River School, Rhein’s art forges an intimate metaphysical and transcendental connection between man and nature. Exploring this complex relationship, Rhein’s work features a vast personal iconography-shaped by the natural environment such as hummingbirds, leaves, deer and other organic forms. Through his powerful metaphorical imagery, Rhein examines the liminal spaces between life and death, the tangible and the ephemeral, and the known and ethereal. Working in a wide range of mediums, including wire drawings, sculpture, photography, and delicate mixed media collage, he handles often salvaged materials with empathetic reverence. Rhein’s considered and intuitive use of repurposed objects is a hallmark of his work, frequently employing materials as varied as wire, plates and pages from vintage scientific journals, hardware, jewelry, crystals and other found objects. For Rhein, the act of giving such cast-offs a new life mirrors the artist’s own spiritual path. Rhein addresses the universal aspects of the human condition—particularly its vulnerability, resilience, and possibilities for transcendence—as experienced after his diagnosis with HIV in 1987. With its explorations of eroticism, beauty and mortality, The New York Times critic Holland Cotter writes that in Rhein’s work, “the combination of art and craft, delicacy and resiliency, feminine and masculine, is exquisitely wrought and is, as it should be, seductive but disturbing.” A presence in Manhattan’s East Village since 1980, Rhein became a part of the neighborhood’s arts community, with artists such as Greer Lankton, Luis Frangella, David Wojnarowicz, Keith Haring, Robert Mapplethorpe, Peter Hujar, and Mark Morrisroe. As the community permanently altered the city’s cultural landscape, it was also profoundly devastated by HIV/AIDS. Through wire portraits, Rhein’s ongoing work Leaves honors individuals he knew who died of complications from AIDS. Initially 80 portraits at its conception in 1996, Leaves has now grown to over 250 portraits—an evolving, personal memorial to the overwhelming losses due to the pandemic. Inspired by his uncle Elijah “Lige” Clarke (an early gay rights activist who, with his partner Jack Nichols, co-founded the first national gay weekly newspaper Gay, and the Washington Mattachine Society), Rhein relates to his art as a form of activism and healing. Rhein received his BFA and MFA degrees through full scholarships at the School of Visual Arts, NY. His work has been exhibited internationally at venues such as: the Victoria and Albert Museum; The New Art Gallery, Walsall, England; the Pera Museum, Istanbul; American embassies in Austria, Cameroon, and Malta; the Addison Gallery of American Art; Lincoln Center; the Morris Museum, Morristown, NJ; the Islip Art Museum, NY; the Leslie-Lohman Museum of Gay and Lesbian Art; the Portland Museum of Art; the Smithsonian’s Traveling Exhibition for the Millennium; Johnson & Johnson, New Brunswick, NJ; and Pavel Zoubok Gallery, New York, NY. Press: A Conversation with Artist Eric Rhein by Todd Lanier Lester, Luv ‘Til it Hurts, August, 2019 Close Look: Eric Rhein at Institute 193 in Lexington by BURNAWAY writers, BURNAWAY, July 27, 2019 Interview with Eric Rhein and Silas House by Tom Godell, The Agenda, WUKY, July 1, 2019 Eric Rhein Celebrates Stonewall with Two Kentucky Exhibitions by Hank Trout, A&U Magazine, June 26, 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562870542578-291LKYYLMCVPH7PYQ2TQ/2_EricRhein_ButterflyGirl_300+.JPG Off Site: Eric Rhein - Eric Rhein, Butterfly Girl, 1992-95, steel, brass, and gold-filled wire, found objects, thread, glue, 32 x 16 x 12.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562871288310-NYS8FE7QCK1SRSPRD1DX/3b_EricRhein_Silver+Buck.jpg Off Site: Eric Rhein - Eric Rhein, Silver Buck (Fire Island), 2010, silver gelatin print, 20 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562870571704-0YJA198ISH2YKEXZSI8O/5_EricRhein_Torso_SelfPortrait_150.jpg Off Site: Eric Rhein - Eric Rhein, Torso’s (self-portrait), 1993, Left: Band-Aid; Right: Constellation, silver gelatin prints, 19.5 x 35 x2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562870585266-BWCWKMFOCG057ZKCYVDM/1_EricRhein_Artistic+Heritage.jpg Off Site: Eric Rhein - Eric Rhein, Artistic Heritage, 1996-2008, wire and book covers, 32 x 30 x 2.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562870592235-UWBQ20NHE2FJCRJTZZ90/1_EricRhein_Open+Hearted+Larry.jpg Off Site: Eric Rhein - Eric Rhein, Open Hearted Larry, (from Leaves an AIDS Memorial), 1996-present, wire and paper, 16 x 13 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562870594874-1F1MY87Q50RW9IM9EB7N/3_EricRhein_+Iris+the+Poet+and+Activist_IrisDeLaCruz.jpg Off Site: Eric Rhein - Eric Rhein, Iris the Poet and Activist (Iris De La Cruz) (from Leaves an AIDS Memorial), 1996-present, wire and paper, 16 x 13 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562870597590-37POG5ULQI2DCWNWXD8F/4_EricRhein_Charismatic+Paul_PaulThek.jpg Off Site: Eric Rhein - Eric Rhein, Charismatic Paul - (Paul Thek) (from Leaves an AIDS Memorial), 1996-present, wire and paper, 16 x 13 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572627652358-59ZJE9MTAM3W49IYOTK6/Image-7.png Off Site: Eric Rhein - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572627652659-CY0JJLHYZM8P0321ZB9C/Image-8.png Off Site: Eric Rhein - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572627657260-PBGWXCX54RN12HW6898P/Image-10.png Off Site: Eric Rhein - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572627658390-YFZL0BRYFUVR8GEUBHQM/unnamed.jpg Off Site: Eric Rhein - Installation View https://www.institute193.org/exhibitions-summertime-ny daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563378201300-J3WX6H3281XRTXTGV7CK/Alice+Wong%2C+Untitled+1%2C+2019%2C+Mixed+media+on+found+image%2C+4.75_x2.75_.jpg Exhibitions: Summertime NY - Alice Wong, Untitled 1, 2019, mixed media on found image, 4.75 x 2.75 inches TAN LINES Presented by SUMMERTIME August 8 – 31, 2019 Opening Reception: Thursday, August 8, 6 – 8 PM Institute 193 (1B), New York SUMMERTIME is thrilled to announce our inaugural exhibition, TAN LINES, celebrating all things hot and sweaty. TAN LINES will feature works by Joseph Algieri, Everette Ball, Mary T. Bevlock, Mike Goodlett, Camille Holvoet, Lucy Nagle, Byron Smith and Alice Wong in a summer themed group exhibition at Institute 193 (1B). Summer in New York City is a gift available to all. New Yorkers cool off together on beaches, grill together at block parties and commiserate with one another on subway platforms. TAN LINES channels the shared experience of a New York City summer — the riotous exuberance, playfulness, desire and nostalgia, uniting work from progressive art studios with artists working outside of that construct. SUMMERTIME, founded by Sophia Cosmadopoulos and Anna Schechter, is a 501(c)(3) collective supporting artists with intellectual disabilities alongside artists without. SUMMERTIME’s mission is to showcase the talents of artists in an inclusive and contemporary manner, fostering identity and connection. We would like to thank Creative Growth, Creativity Explored, Center for Creative Works, YAI ARTS and LAND for their participation in this exhibition and their continued support of artists with intellectual disabilities in progressive art studios as well as Institute 193 for hosting TAN LINES. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563378201300-J3WX6H3281XRTXTGV7CK/Alice+Wong%2C+Untitled+1%2C+2019%2C+Mixed+media+on+found+image%2C+4.75_x2.75_.jpg Exhibitions: Summertime NY - Alice Wong, Untitled 1, 2019, mixed media on found image, 4.75 x 2.75 inches TAN LINES Presented by SUMMERTIME August 8 – 31, 2019 Opening Reception: Thursday, August 8, 6 – 8 PM Institute 193 (1B), New York SUMMERTIME is thrilled to announce our inaugural exhibition, TAN LINES, celebrating all things hot and sweaty. TAN LINES will feature works by Joseph Algieri, Everette Ball, Mary T. Bevlock, Mike Goodlett, Camille Holvoet, Lucy Nagle, Byron Smith and Alice Wong in a summer themed group exhibition at Institute 193 (1B). Summer in New York City is a gift available to all. New Yorkers cool off together on beaches, grill together at block parties and commiserate with one another on subway platforms. TAN LINES channels the shared experience of a New York City summer — the riotous exuberance, playfulness, desire and nostalgia, uniting work from progressive art studios with artists working outside of that construct. SUMMERTIME, founded by Sophia Cosmadopoulos and Anna Schechter, is a 501(c)(3) collective supporting artists with intellectual disabilities alongside artists without. SUMMERTIME’s mission is to showcase the talents of artists in an inclusive and contemporary manner, fostering identity and connection. We would like to thank Creative Growth, Creativity Explored, Center for Creative Works, YAI ARTS and LAND for their participation in this exhibition and their continued support of artists with intellectual disabilities in progressive art studios as well as Institute 193 for hosting TAN LINES. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840956400-1O52O2QRJ0RGVUBFILBM/1-2.jpg Exhibitions: Summertime NY - Mike Goodlett, Untitled, 2015, graphite and spray paint on paper, 14 x 11 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840982157-85J4GC4YYFH25SHQJ7W2/IMG_8375.jpg Exhibitions: Summertime NY - Mike Goodlett, Untitled, 2015, graphite and spray paint on paper, 14 x 11 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840972977-KAXFBZ4RWJY8JR3BYR27/IMG_8184.jpg Exhibitions: Summertime NY - Mike Goodlett, Untitled, 2015, graphite and spray paint on paper, 14 x 11 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840955297-245TI2AH4MVCXCL9NQ69/0+2.jpg Exhibitions: Summertime NY - Joseph Algieri, Bread and Circus, 2019, cast expandable foam, 24 x 26 x 18 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840955512-P1O1MV0OE5XPC3NB8ZIF/0-3+2.jpg Exhibitions: Summertime NY - Camille Holvoet, God is Jello, Hell is Jello, 2019, colored pencil, ink and felt pen on wood, 14 x 14 x .5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840956178-RJEMW6ZXKZY0MFTFJBNG/1+3+copy.jpg Exhibitions: Summertime NY - Mary T. Bevlock, Tom Selleck Nice Sunny day in the Mountains of Hawaii, 2019, watercolor and ink on wood, 8 x 10 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840956613-VHT0AEV2FGM74EXMLXJC/1-1+2.jpg Exhibitions: Summertime NY - Mary T. Bevlock, Kelly Kapowski and Jessie Spano Hula Dancer, 2019, watercolor and ink on wood, 8 x 10 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840970855-2DBTOTZESRD1VACVD8EG/Copy+of+BevlockM086.jpg Exhibitions: Summertime NY - Mary T. Bevlock, Knots Landing Dallas Spin-off, 2018, acrylic on canvas, 18 x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840957638-WU9AL49VUFBMT8Z33JGQ/Cropped+Alice+Wong%2C+Untitled+2%2C+2019%2C+Mixed+media+on+found+image%2C+4.75_x2.75_.jpg Exhibitions: Summertime NY - Alice Wong, Untitled, 2019, mixed media on found image, 4.25 x 2.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840958437-DRGQLQ35WTIQVEA60DRM/Cropped+Alice+Wong%2C+Untitled+3%2C+2019%2C+Mixed+media+on+found+image%2C+4.75_x2.75_.jpg Exhibitions: Summertime NY - Alice Wong, Untitled, 2019, mixed media on found image, 4.25 x 2.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840959245-D8E9IX7VQOB5IQQCH7BC/Cropped+Alice+Wong%2C+Untitled%2C+2019%2C+Mixed+media+on+found+image%2C+4.75_x2.75_.jpg Exhibitions: Summertime NY - Alice Wong, Untitled, 2019, mixed media on found image, 4.25 x 2.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840959897-MQDC5NHDZAMMPWZ7ED3F/IMG_6905.jpg Exhibitions: Summertime NY - Byron Smith, Untitled, 2018, colored pencil on paper, 24 x 19 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840960645-HXWP64IJ7W0X464UB5ML/IMG_7135.jpg Exhibitions: Summertime NY - Byron Smith, Untitled, 2018, colored pencil on paper, 24 x 19 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840964390-IQ8UE4VFWK1UJ718LBRI/IMG_7659.jpg Exhibitions: Summertime NY - Everette Ball, Untitled, 2019, colored pencil on paper, 19 x 25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840981730-IHNYUT7X1P4H4Q9WCSJZ/Lucy+Nagle%2C+Browad+County%2C+2004%2C+Oil+on+wood%2C+9_x7_+.jpg Exhibitions: Summertime NY - Lucy Nagle, Untitled, 2004, oil on canvas, 9 x 7 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840982270-X03DWB8Z4WM7NAI5ULG8/unnamed-1.jpg Exhibitions: Summertime NY - Camille Holvoet, Naked Woman Crossed Eyes Standing on Stilts, 2017, ink and marker on wood, 49 x 16 x 1 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1566840982372-7AMHWK91QQXXAEPEDY16/unnamed.jpg Exhibitions: Summertime NY - Camille Holvoet, Naked Man Wide Eyes Open Standing on Stilts, 2017, ink and marker on wood, 47 x 15 x 1 inches https://www.institute193.org/exhibitions-sarah-zapata-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565892122922-LZOJKLG7X2QOI2QOECVD/SZ2.jpg Exhibitions: Sarah Zapata KY - Sarah Zapata, (Sketch for New York Textile Month Installation), 2016, watercolor and pencil, 11 x 14 inches framed Sarah Zapata Speculative Monuments August 7 – September 20, 2019 Closing Reception: September 20, 5 – 8 PM Institute 193, Lexington Sarah Zapata’s weavings and textile-based sculptures have been described as monuments for alternate or future worlds or ruins from a past one. On view at Institute 193, for the first exhibition of her work in the South, Zapata is presenting an intimate series of watercolor studies made as references for her larger works. The drawings are one part of the artist’s research-steeped practice which routinely engages with the personal and collective histories tied to her intersecting identities as a queer, Peruvian-American raised in an Evangelical Christian household in Texas. The works are presented at 193 in the context of a region divided over the appropriateness and continued display of the monuments and memorials dedicated to leaders and fallen soldiers of the Confederacy. Just two years ago, after advocacy lead by Take Back Cheapside, Lexington’s city council voted to relocate two such monuments dedicated to John C. Breckenridge and John Hunt Morgan, both Generals in the Confederate Army. Notably, the Lexington monuments, like many similar monuments elsewhere in the South, were built at the height of the Jim Crow Era, not immediately after the Civil War. Unlike most of the monuments, they were built in a state that never joined the Confederacy. Other symbols of the Confederacy, especially its flag, have been used as racist dog whistles, both in former Confederate states and in other parts of the country with no connection to the Confederacy whatsoever. Similarly, these monuments functioned (and many elsewhere continue to function) as sites of publicly sanctioned intimidation of brown and black people rather than acting in good faith as legitimate memorials for the dead. The organizations that built them, in the end, were able to continue advocating for the racial dynamics of a failed state under the guise of mourning and remembrance. In her work, too, Zapata recognizes failure not as an end, but as a part of an ongoing process. The translation from two-dimensional drawings to three-dimensional sculptures and installations is rarely straightforward and sometimes unsuccessful. Colors change, and forms are reconfigured in response to the needs of a space, sometimes being abandoned altogether. The watercolor studies for future sculptures, some of which were eventually realized and exhibited, of course, have distinctly different goals than the Civil War monuments being discussed in the South today. Instead of reinforcing the positions of a group already in power, they envision an alternate present or possible future whose monuments pay homage to different communities, histories, and ways of being. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565892122922-LZOJKLG7X2QOI2QOECVD/SZ2.jpg Exhibitions: Sarah Zapata KY - Sarah Zapata, (Sketch for New York Textile Month Installation), 2016, watercolor and pencil, 11 x 14 inches framed Sarah Zapata Speculative Monuments August 7 – September 20, 2019 Closing Reception: September 20, 5 – 8 PM Institute 193, Lexington Sarah Zapata’s weavings and textile-based sculptures have been described as monuments for alternate or future worlds or ruins from a past one. On view at Institute 193, for the first exhibition of her work in the South, Zapata is presenting an intimate series of watercolor studies made as references for her larger works. The drawings are one part of the artist’s research-steeped practice which routinely engages with the personal and collective histories tied to her intersecting identities as a queer, Peruvian-American raised in an Evangelical Christian household in Texas. The works are presented at 193 in the context of a region divided over the appropriateness and continued display of the monuments and memorials dedicated to leaders and fallen soldiers of the Confederacy. Just two years ago, after advocacy lead by Take Back Cheapside, Lexington’s city council voted to relocate two such monuments dedicated to John C. Breckenridge and John Hunt Morgan, both Generals in the Confederate Army. Notably, the Lexington monuments, like many similar monuments elsewhere in the South, were built at the height of the Jim Crow Era, not immediately after the Civil War. Unlike most of the monuments, they were built in a state that never joined the Confederacy. Other symbols of the Confederacy, especially its flag, have been used as racist dog whistles, both in former Confederate states and in other parts of the country with no connection to the Confederacy whatsoever. Similarly, these monuments functioned (and many elsewhere continue to function) as sites of publicly sanctioned intimidation of brown and black people rather than acting in good faith as legitimate memorials for the dead. The organizations that built them, in the end, were able to continue advocating for the racial dynamics of a failed state under the guise of mourning and remembrance. In her work, too, Zapata recognizes failure not as an end, but as a part of an ongoing process. The translation from two-dimensional drawings to three-dimensional sculptures and installations is rarely straightforward and sometimes unsuccessful. Colors change, and forms are reconfigured in response to the needs of a space, sometimes being abandoned altogether. The watercolor studies for future sculptures, some of which were eventually realized and exhibited, of course, have distinctly different goals than the Civil War monuments being discussed in the South today. Instead of reinforcing the positions of a group already in power, they envision an alternate present or possible future whose monuments pay homage to different communities, histories, and ways of being. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565892148307-RJUJEMXSSJP6HFFAXFSU/SZ7.jpg Exhibitions: Sarah Zapata KY - (Sketch for Worshiper Sculptures), 2017, watercolor and pencil, 14 x 11 inches framed https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565892131331-JGRUPS3AQS3J7Q16M7XR/SZ4.jpg Exhibitions: Sarah Zapata KY - (Sketch for Character of Color Phenomena (Rug)), 2017, watercolor and pencil, 14 x 11 inches framed https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565892155726-NU5N3SCGN5MBOZ9HUTJC/SZ8.jpg Exhibitions: Sarah Zapata KY - (Sketch for unrealized coiled sculpture), 2017, watercolor and pencil, 11 x 14 inches framed https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565892141653-SC8W02T6TMYDXC1L6CSD/SZ5.jpg Exhibitions: Sarah Zapata KY - (Sketch for To Teach or To Assume Authority), 2017, watercolor and pencil, 14 x 11 inches framed https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565892122927-U0LI1Y6L5N8AXSPYS7E6/SZ1.jpg Exhibitions: Sarah Zapata KY - (Sketch for unrealized labyrinth), 2018, watercolor and pencil, 11 x 14 inches framed https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565892140595-1E929L9NIEO90V4UYEMM/SZ3.jpg Exhibitions: Sarah Zapata KY - (Sketch for New York Textile Month Installation), 2016, watercolor and pencil, 11 x 14 inches framed https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565892150579-NVE28BTU0W5KPZHHT4CA/SZ6.jpg Exhibitions: Sarah Zapata KY - (Sketch for Character of Color Phenomena (Vessel)), 2017, watercolor and pencil, 14 x 11 inches framed https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565802010330-Z63RV0N6R88MX56G7AMF/SZinstall7.jpg Exhibitions: Sarah Zapata KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565801668354-A101SH1YFQ588BS6WQPF/SZinstall1small.jpg Exhibitions: Sarah Zapata KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565801763128-I252TTB9FECPS14CIDA7/SZ2.jpg Exhibitions: Sarah Zapata KY - Untitled, 2019, watercolor on paper, 11 x 14 inches (framed) Sarah Zapata: Speculative Monuments August 7 - September 20 Closing Reception: September 20 5 - 8 PM Sarah Zapata’s weavings and textile-based sculptures have been described as monuments for alternate or future worlds or ruins from a past one. On view at Institute 193, for the first exhibition of her work in the South, Zapata is presenting an intimate series of watercolor studies made as references for her larger works. The drawings are one part of the artist’s research-steeped practice which routinely engages with the personal and collective histories tied to her intersecting identities as a queer, Peruvian-American raised in an Evangelical Christian household in Texas. The works are presented at 193 in the context of a region divided over the appropriateness and continued display of the monuments and memorials dedicated to leaders and fallen soldiers of the Confederacy. Just two years ago, after advocacy lead by Take Back Cheapside, Lexington’s city council voted to relocate two such monuments dedicated to John C. Breckenridge and John Hunt Morgan, both Generals in the Confederate Army. Notably, the Lexington monuments, like many similar monuments elsewhere in the South, were built at the height of the Jim Crow Era, not immediately after the Civil War. Unlike most of the monuments, they were built in a state that never joined the Confederacy. Other symbols of the Confederacy, especially its flag, have been used as racist dog whistles, both in former Confederate states and in other parts of the country with no connection to the Confederacy whatsoever. Similarly, these monuments functioned (and many elsewhere continue to function) as sites of publicly sanctioned intimidation of brown and black people rather than acting in good faith as legitimate memorials for the dead. The organizations that built them, in the end, were able to continue advocating for the racial dynamics of a failed state under the guise of mourning and remembrance. In her work, too, Zapata recognizes failure not as an end, but as a part of an ongoing process. The translation from two-dimensional drawings to three-dimensional sculptures and installations is rarely straightforward and sometimes unsuccessful. Colors change, and forms are reconfigured in response to the needs of a space, sometimes being abandoned altogether. The watercolor studies for future sculptures, some of which were eventually realized and exhibited, of course, have distinctly different goals than the Civil War monuments being discussed in the South today. Instead of reinforcing the positions of a group already in power, they envision an alternate present or possible future whose monuments pay homage to different communities, histories, and ways of being. For press inquiries contact: Paul Michael Brown paul@institute193.org 270 925 2311 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565801617755-3922EO7BYWRL9LDQIMJV/SZ2install.jpg Exhibitions: Sarah Zapata KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565801920102-W60DHF9U1JW3RKIP9PQF/SZinstall5.jpg Exhibitions: Sarah Zapata KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565801969631-WAYHCXHQXHBRRG63XKKA/SZinstall6.jpg Exhibitions: Sarah Zapata KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565801651493-13EB1B39XYX2PRE4YJSL/SZinstall8.jpg Exhibitions: Sarah Zapata KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565801667753-Z0H2IJ1AL90EXX0ULNYD/SZinstall9.jpg Exhibitions: Sarah Zapata KY - Installation View https://www.institute193.org/exhibitions-henry-speller-ny daily 0.75 2020-08-26 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567613699733-RMDWR1RFGFR2PG69RAKD/Henry+Speller%2C+Untitled++%28Three+Women%29%2C+24++x+18+inches%2C+ca+1983-1988.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled (Three Women), ca. 1983-88, 18 x 24 inches Henry Speller Mother Wit September 12 – November 2, 2019 Institute 193 (1B), New York “I saw some pictures and I just took it in my head to see if I could do some. I could. It was my talent. I guess I had good mother wit. That’s anything that comes out of your head. You just sit down and think about it and plan it out and you know how to do it.” — Henry Speller in The Commercial Appeal, 1979 Henry Speller was born in 1903 in the tiny Delta community of Panther Burn, Mississippi near Rolling Fork. He spent the first half of his life as a sharecropper and subsistence farmer in the region but moved to Memphis in 1939 where he worked odd jobs for many years—first as a junk man—and later as a landscaper, garbage collector, and janitor for a trucking company. His cultural roots, however, remain embedded in the pre-war Mississippi Delta environment. A traditional Delta blues musician, Speller claimed to be friendly with Charley Patton and played with Howlin' Wolf and Muddy Waters. In the 1970s and ‘80s Speller lived on Butler Avenue a few blocks south of Beale Street. During those years, Speller made hundreds of pencil, crayon, and marker drawings which he initially displayed on his front porch. Through observation, memory and an intuitive formal virtuosity, Speller transcribed the past and present and the country and city through his expansive imagination. Many of Speller’s drawings capture both the vibrance and chaos of life in and around Beale and although his world was narrowly defined, he seemingly employed all of his experience and attention in service to his art. In addition to people from the Beale street milieu, Speller also depicted houses, churches, and characters from television. Boats, trains, motorcycles, and automobiles populate many of his drawings, showing the artist’s longtime fascination with all forms of transportation, and perhaps an unrealized wish to simply “get out.” Speller’s most recognized subjects are the varied iterations of long-haired women he rendered with large breasts and colorful fetishized anatomy. It is not hard to imagine these figures giving visual form to his sexual fantasies. The women in his drawings appear to be performing, often in a sarcastic manner, and their lipless mouths bare aggressive teeth leaving the viewer to consider whether their smiles are friendly or menacing. In conversation with the collector and scholar Bill Arnett, Henry Speller explained his reason for drawing: “They just consolate me when I’m back here by myself.” No matter the subject, it is clear that Speller’s drawings provided him with a vital expressive outlet for both pleasure and frustration in a world plagued with monotony and struggle but also with joy. Henry Speller: Mother Wit opens September 12, 2019 at Institute 193 (1B) in collaboration with Tops Gallery (Memphis, TN). This exhibition will be immediately followed by the release of an LP album with music and dialogue by Henry Speller, his wife and fellow artist Georgia Speller, and artist and musician Coy Love. The recordings were made by collector and archivist Jerry Pevahouse at the Speller home on Butler Avenue in June of 1978. The record titled 244 Butler Avenue will be released in December 2019. Press: Just Off Beale: Henry Speller in Memphis, by Hunter Braithwaite, Burnaway, October 24, 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567613699733-RMDWR1RFGFR2PG69RAKD/Henry+Speller%2C+Untitled++%28Three+Women%29%2C+24++x+18+inches%2C+ca+1983-1988.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled (Three Women), ca. 1983-88, 18 x 24 inches Henry Speller Mother Wit September 12 – November 2, 2019 Institute 193 (1B), New York “I saw some pictures and I just took it in my head to see if I could do some. I could. It was my talent. I guess I had good mother wit. That’s anything that comes out of your head. You just sit down and think about it and plan it out and you know how to do it.” — Henry Speller in The Commercial Appeal, 1979 Henry Speller was born in 1903 in the tiny Delta community of Panther Burn, Mississippi near Rolling Fork. He spent the first half of his life as a sharecropper and subsistence farmer in the region but moved to Memphis in 1939 where he worked odd jobs for many years—first as a junk man—and later as a landscaper, garbage collector, and janitor for a trucking company. His cultural roots, however, remain embedded in the pre-war Mississippi Delta environment. A traditional Delta blues musician, Speller claimed to be friendly with Charley Patton and played with Howlin' Wolf and Muddy Waters. In the 1970s and ‘80s Speller lived on Butler Avenue a few blocks south of Beale Street. During those years, Speller made hundreds of pencil, crayon, and marker drawings which he initially displayed on his front porch. Through observation, memory and an intuitive formal virtuosity, Speller transcribed the past and present and the country and city through his expansive imagination. Many of Speller’s drawings capture both the vibrance and chaos of life in and around Beale and although his world was narrowly defined, he seemingly employed all of his experience and attention in service to his art. In addition to people from the Beale street milieu, Speller also depicted houses, churches, and characters from television. Boats, trains, motorcycles, and automobiles populate many of his drawings, showing the artist’s longtime fascination with all forms of transportation, and perhaps an unrealized wish to simply “get out.” Speller’s most recognized subjects are the varied iterations of long-haired women he rendered with large breasts and colorful fetishized anatomy. It is not hard to imagine these figures giving visual form to his sexual fantasies. The women in his drawings appear to be performing, often in a sarcastic manner, and their lipless mouths bare aggressive teeth leaving the viewer to consider whether their smiles are friendly or menacing. In conversation with the collector and scholar Bill Arnett, Henry Speller explained his reason for drawing: “They just consolate me when I’m back here by myself.” No matter the subject, it is clear that Speller’s drawings provided him with a vital expressive outlet for both pleasure and frustration in a world plagued with monotony and struggle but also with joy. Henry Speller: Mother Wit opens September 12, 2019 at Institute 193 (1B) in collaboration with Tops Gallery (Memphis, TN). This exhibition will be immediately followed by the release of an LP album with music and dialogue by Henry Speller, his wife and fellow artist Georgia Speller, and artist and musician Coy Love. The recordings were made by collector and archivist Jerry Pevahouse at the Speller home on Butler Avenue in June of 1978. The record titled 244 Butler Avenue will be released in December 2019. Press: Just Off Beale: Henry Speller in Memphis, by Hunter Braithwaite, Burnaway, October 24, 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567613669951-PB23UDK4H6BLCOSZ278P/Henry+Speller%2C+Untitled++%28Caught+In+the+Act%29%2C+11++x+17.6+inches%2C+ca+1983-1988.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled (Caught In the Act), ca. 1983-1988, 17.6 x 11 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567613688257-TFPEK5TM7OC7UGGXQE0R/Henry+Speller%2C+Untitled++%28Man+with+Woman+in+See+Through+Dress%29%2C24+x+18+inches%2C+ca+1983-1988+.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled (Man with Woman in See Through Dress), ca. 1983-88, 24 x 18 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567613722868-T8W0PMODRNV7BJNA2D3Q/Henry+Speller%2C+Untitled++%28Threesome%29%2C+24++x+18+inches%2C+ca+1983-1988+.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled (Threesome), ca. 1983-88, 18 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568230568610-8CA13DFHJY8M1HTTH5CG/Henry+Speller%2C+Untitled+%28%27Dallas%27+Man%29%2C+18+x+12+inches%2C+ca+1983-1988+.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled ('Dallas' Man), ca. 1983-88, 18 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567613744855-YZCT7UKN0ZVC0WVJ06FY/Henry+Speller%2C+Untitled+%28Dancing+Woman+with+Cape%29%2C18+x+24+inches%2C+ca+1983-1988+.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled (Dancing Woman with Cape), ca. 1983-88, 18 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567613762326-ZZBNC72T4WW6TDNF0RH2/Henry+Speller%2C+Untitled+%28Duplex%29%2C18+x+24+inches%2C+ca+1983-1988+.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled (Duplex), ca. 1983-88, 18 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567613773904-FRWXX6D1P2L2UE1X8E2S/Henry+Speller%2C+Untitled+%28Man+with+Two+Women%29%2C18+x+24+inches%2C+ca+1983-1988+.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled (Man with Two Women), ca. 1983-88, 18 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567613786351-ZK475ACDPWIXW5UYD122/Henry+Speller%2C+Untitled+%28Twins%29%2C18+x+24+inches%2C+ca+1983-1988+.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled (Twins), ca. 1983-88, 18 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567613800671-42EOGEK2TZ3TXH8U807Y/Henry+Speller%2C+Untitled+%28Two+Women+with+Man+in+Hat%29%2C24x+18+inches%2C+ca+1983-1988+.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled (Two Women with Man in Hat), ca. 1983-88, 24 x 18 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567613812789-7YDT1D4CO4LAHRT0ZI4E/Henry+Speller%2C+Untitled+%28Woman+Dancing%29%2C+24++x+18+inches%2C+ca+1983-1988+.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled (Woman Dancing), ca. 1983-88, 24 x 18 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567613839378-SYOTLVDZMPXZ8BCGIT44/Henry+Speller%2C+Untitled+%28Woman+with+Big+Man+with+Hat%29%2C+24+x+18+inches%2C+ca+1983-1988+.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled (Woman with Big Man with Hat), ca. 1983-88, 24 x 18 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567613844876-9B74D9WHNOAU8YD3PWAT/Henry+Speller%2C+Untitled+%28Woman+with+Cape%29%2C+18+x+12+inches%2C+ca+1983-1988+.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled (Woman with Cape), ca. 1983-88, 18 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567613856442-JZAAV3EA1R2U72LE4T4A/Henry+Speller%2C+Untitled+%28Woman+with+Donkey+and+Boy+%29%2C18+x+24+inches%2C+ca+1983-1988+.jpg Exhibitions: Henry Speller NY - Henry Speller, Untitled (Woman with Donkey and Boy), ca. 1983-88, 18 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571929880076-UZ64Q1Y9JNHT2N1T3WZL/_DSC5133.jpg Exhibitions: Henry Speller NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571929880082-UW845BE1AKNWMJKGL7PY/_DSC5134.jpg Exhibitions: Henry Speller NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571929890447-QVVOTKZJWIEVT8L6OOOH/_DSC5139.jpg Exhibitions: Henry Speller NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571929890203-K0DLKQK2VQYHYTFI2YBQ/_DSC5140.jpg Exhibitions: Henry Speller NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571929900304-MR7IH34EBL4BIHQNMQ1M/_DSC5142.jpg Exhibitions: Henry Speller NY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571929900298-R04VN1BA7KV0UMEJO6HJ/_DSC5143.jpg Exhibitions: Henry Speller NY - Installation View https://www.institute193.org/exhibitions-erin-eldred-ky daily 0.75 2020-02-02 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568722205393-N4YI29SQ9EE511HN9YYM/320cd91c11ae6c69-deluge.jpg Exhibitions: Erin Eldred KY - Erin Eldred, Cone Weaving, 2014, yarn, cloth covered wire, plaster, acrylic, 6 x 2.5 x 2.5 inches Erin Eldred Fabricate September 30 – November 7, 2015 Institute 193, Lexington Erin Eldred talks to fibers, and they talk back — so to speak. She describes her process as an immediate dialogue between herself and her materials. Lately, Eldred says she works mostly on frame looms (which she builds herself), stating that that the very nature of weaving lends itself to making intuitive decisions. Fibers build on top of one another, and she continually adjusts to their evolving configurations. Eldred grew up in a creative environment. She learned to sew by observation, spending hours looking across the kitchen table at her mother, who was always creating and making crafts with her children. Another influential woman in Eldred’s life, a family friend, taught her to crochet when she was in the third grade. She never used patterns but instead took to making peculiar three-dimensional crocheted sculptures. To this day, she continues to elevate such traditional craft techniques, which have a rich history in the South, by challenging the physical limits of fiber performance. The works in Fabricate vary drastically in scale; the weavings alone ranging from a mere two inches to an ample three feet. Other materials, such as dyed wool and cloth strips, form the basis for three-dimensional sculptures. Eldred even incorporates “foreign” materials such as plaster, pins, dowels, and wire in order to facilitate inventive structures and effects. Besides her obvious technical prowess and facile grasp of a wide variety of techniques, each piece flaunts a sophisticated eye for color, most specifically an impressive ability to give visual prominence to very understated tones. Erin eschews superimposition of conceptual veneers, preferring to focus attention on the immediacy of materials and the intuitive processes by which they can be transformed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568722205393-N4YI29SQ9EE511HN9YYM/320cd91c11ae6c69-deluge.jpg Exhibitions: Erin Eldred KY - Erin Eldred, Cone Weaving, 2014, yarn, cloth covered wire, plaster, acrylic, 6 x 2.5 x 2.5 inches Erin Eldred Fabricate September 30 – November 7, 2015 Institute 193, Lexington Erin Eldred talks to fibers, and they talk back — so to speak. She describes her process as an immediate dialogue between herself and her materials. Lately, Eldred says she works mostly on frame looms (which she builds herself), stating that that the very nature of weaving lends itself to making intuitive decisions. Fibers build on top of one another, and she continually adjusts to their evolving configurations. Eldred grew up in a creative environment. She learned to sew by observation, spending hours looking across the kitchen table at her mother, who was always creating and making crafts with her children. Another influential woman in Eldred’s life, a family friend, taught her to crochet when she was in the third grade. She never used patterns but instead took to making peculiar three-dimensional crocheted sculptures. To this day, she continues to elevate such traditional craft techniques, which have a rich history in the South, by challenging the physical limits of fiber performance. The works in Fabricate vary drastically in scale; the weavings alone ranging from a mere two inches to an ample three feet. Other materials, such as dyed wool and cloth strips, form the basis for three-dimensional sculptures. Eldred even incorporates “foreign” materials such as plaster, pins, dowels, and wire in order to facilitate inventive structures and effects. Besides her obvious technical prowess and facile grasp of a wide variety of techniques, each piece flaunts a sophisticated eye for color, most specifically an impressive ability to give visual prominence to very understated tones. Erin eschews superimposition of conceptual veneers, preferring to focus attention on the immediacy of materials and the intuitive processes by which they can be transformed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568722218294-9OSRZ8JUBZ2I9YXVOB98/5640be3c9caae79c-tinyweaving1_onwhite.jpg Exhibitions: Erin Eldred KY - Erin Eldred, Untitled (Tiny Weaving 1), 2015, woven polyester sewing thread, 1.5 x 1.375 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568722175170-S8N7TN44Y20XTO6MDW1E/3d3882d4beea7441-tinyweaving2_onwhite.jpg Exhibitions: Erin Eldred KY - Erin Eldred, Untitled (Tiny Weaving 2), 2015, woven polyester sewing thread, 1.5 x 1.375 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568722198992-QZD2D75XNRHF2V1CU2PN/14c24355acdc8f58-DayNightProportion2.jpg Exhibitions: Erin Eldred KY - Erin Eldred, Day, woven cotton cord and thread, copper wire, dowel, 23 x 13 inches (left); Erin Eldred, Night, woven cotton cord, thread and yarn, suede, wire, painted dowel, 33.5 x 14 inches (right) https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568722238893-X695Y0DCP1RW0J9705ON/d5a8bb4d0911af15-passingstorm_onwhite.jpg Exhibitions: Erin Eldred KY - Erin Eldred, Passing Storm, 2015, woven cotton and wool yarn, 8.5 x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568722242515-GCWF8NWRE9C4WK15HSGN/d7df35cb61792d2e-cone_weaving.jpg Exhibitions: Erin Eldred KY - Erin Eldred, Cone Weaving, 2014, yarn, cloth covered wire, plaster, acrylic, 12 x 4 x 4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568722216778-6FBAOO98XZI22FAMMIQ6/3029ad3398b85134-IMG_52522.png Exhibitions: Erin Eldred KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568722142611-CFLCJ6K7CP0CINNAHJC8/0e2c4ffd3ae4f9d0-IMG_5238.png Exhibitions: Erin Eldred KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568722230099-5OL595OHJAA9KONVLT49/be8df2c25331df18-IMG_52552.jpg Exhibitions: Erin Eldred KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568722257158-LG0D7EOTE06899ZS5R6I/de0393f52773538a-IMG_5240.png Exhibitions: Erin Eldred KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568722187902-S1LL6S751MRXA2T3Y2RN/6b99b271aa7eec44-IMG_5261.png Exhibitions: Erin Eldred KY - Installation View https://www.institute193.org/exhibitions-adam-oneal-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568736160303-B90SO5OFY9IIPMBSGFKA/01313526b077f232-DSC_0092_reduced.jpg Exhibitions: Adam O'Neal KY - Adam O'Neal, VOL. 130, NO. 5 - VOL. 150, NO. 2, 2015, collaged paper, 19 x 14.5 inches Adam O'Neal Hard Work June 27 – August 1, 2015 Institute 193, Lexington When he was very young, Adam O’Neal began collaging with his mother. Together, they cut items from catalogs to create images of their own “dream homes.” Adam, the second of eight children, grew up in Loxahatchee, Florida, working for tree farms and plant nurseries and remodeling homes with local contractors. Upon graduation, he moved to Daytona Beach to work for a local Marina. He biked to work every morning along the waterfront and spent the workday driving a forklift, moving boats, and pumping gas. In 2008 he moved to Brooklyn, New York, to work as an art handler for galleries and museums, a niche job description he filled as an artist from a family full of construction workers. Both Adam’s life and his art have been heavily influenced by his family life and occupational history. Ever resourceful, he borrows patterns, materials, and processes from his industry. He recontextualizes blueprints, shipping crates, packing tape, and cardboard to create minimal, geometric compositions on canvas. His MudMaster series, named after his father’s own drywall company, abstracts house paint, drywall, and polyurethane through endless scoring. O’Neal also continues the collage practice of his youth, cutting images from old National Geographic Magazines. He layers cars and trucks cut from full-page advertisements onto backgrounds of open water, resulting in new and disorienting landscapes. "Hard Work" is a rumination on work and family. For Adam O’Neal, the two have always been intertwined. His artwork is a visual autobiography, an homage to the materials, the people, and the dreams that sustained his family and shaped his life. Direct, intentional, and celebrating so-called “mistakes,” these pieces are proof that HARD WORK, indeed, can yield something valuable and meaningful. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568736160303-B90SO5OFY9IIPMBSGFKA/01313526b077f232-DSC_0092_reduced.jpg Exhibitions: Adam O'Neal KY - Adam O'Neal, VOL. 130, NO. 5 - VOL. 150, NO. 2, 2015, collaged paper, 19 x 14.5 inches Adam O'Neal Hard Work June 27 – August 1, 2015 Institute 193, Lexington When he was very young, Adam O’Neal began collaging with his mother. Together, they cut items from catalogs to create images of their own “dream homes.” Adam, the second of eight children, grew up in Loxahatchee, Florida, working for tree farms and plant nurseries and remodeling homes with local contractors. Upon graduation, he moved to Daytona Beach to work for a local Marina. He biked to work every morning along the waterfront and spent the workday driving a forklift, moving boats, and pumping gas. In 2008 he moved to Brooklyn, New York, to work as an art handler for galleries and museums, a niche job description he filled as an artist from a family full of construction workers. Both Adam’s life and his art have been heavily influenced by his family life and occupational history. Ever resourceful, he borrows patterns, materials, and processes from his industry. He recontextualizes blueprints, shipping crates, packing tape, and cardboard to create minimal, geometric compositions on canvas. His MudMaster series, named after his father’s own drywall company, abstracts house paint, drywall, and polyurethane through endless scoring. O’Neal also continues the collage practice of his youth, cutting images from old National Geographic Magazines. He layers cars and trucks cut from full-page advertisements onto backgrounds of open water, resulting in new and disorienting landscapes. "Hard Work" is a rumination on work and family. For Adam O’Neal, the two have always been intertwined. His artwork is a visual autobiography, an homage to the materials, the people, and the dreams that sustained his family and shaped his life. Direct, intentional, and celebrating so-called “mistakes,” these pieces are proof that HARD WORK, indeed, can yield something valuable and meaningful. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568736175510-4V64UJC53MGAR4FBTNMK/bd85bdae40393cb9-DSC_0199small.jpg Exhibitions: Adam O'Neal KY - Adam O’Neal, VOL. 128, NO. 4 - VOL. 154, NO. 4, 2015, collaged paper, 9 x 9.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568735933996-EEX52M9IGO0HKWAOPVN9/2d89613d5e3421cc-adamoneal2.jpg Exhibitions: Adam O'Neal KY - Adam O’Neal, VOL. 124, NO.1 - VOL.155, NO. 3, 2015, collaged paper, 7.5 x 4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568736074046-299HZZHLLVSROU64R4IA/33e28e28fde68f07-DSC_0071_reduced.jpg Exhibitions: Adam O'Neal KY - Adam O’Neal, Untitled, 2015, collaged paper, 6.25 x 6.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568735997662-8RI8DO7QBHQK2C6Q9BUP/4ce9ad48358f0f14-IMG_4997_reduced.jpg Exhibitions: Adam O'Neal KY - Adam O’Neal, Four Stacked with Blue Print and Lost Pink X, 2015, oil and house paint on canvas, 34 x 38 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568736102448-4TR9YKNYD9AQAN2YGWEI/33fbaa8caffdc5d4-DSC_0099small.jpg Exhibitions: Adam O'Neal KY - Adam O’Neal, MudMaster 008, 2014, house paint and polyurethane on drywall, 22 x 26 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568735983952-R38O9R7WR04IV627KF3B/5e98ea237320259b-IMG_5017.jpg Exhibitions: Adam O'Neal KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568736114408-DZNK000V7U2O6KBCTHAV/741ac4d233259a13-IMG_5024.jpg Exhibitions: Adam O'Neal KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568737501612-FZ66VZHVQ6ZXFMBHDIAV/ce9d232fbaae1998-IMG_5013.jpg Exhibitions: Adam O'Neal KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568736010854-Q9ABPSFTFSXI1M5CU3KZ/6e9046c88370a45c-IMG_5015.jpg Exhibitions: Adam O'Neal KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568736142309-K13XR9G3R2U22PJLCR8K/a1eec2513bd7cd75-IMG_5006.jpg Exhibitions: Adam O'Neal KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568736016534-Z6XNXI8QWVW50Q5LT03I/19bc4d2a0d818d22-IMG_5021.jpg Exhibitions: Adam O'Neal KY - Installation View https://www.institute193.org/exhibitions-matt-minter-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568728114741-WHD7GKM2DU0C5XTF1I45/4c6149efc4d33354-1MakeupApplied.jpg Exhibitions: Matt Minter KY - Matt Minter, Makeup Applied, 2014, acrylic on canvas, 36 x 36 inches Matt Minter Makeup Applied August 14 – September 26, 2015 Institute 193, Lexington Matt Minter is a Lexington, KY-based countercultural polymath known for music projects, video production, and, perhaps most notably, illustration work. Regardless of medium, his collective creative output mercilessly taps the same singular vein of darkly humorous psychosexual horror tableaux. Minter’s visual work employs the tropes of premium, intricately-detailed ‘70s international fetish sleaze and the graceless jacket art of ‘80s punk rock and metal albums. However, it subtly and deliberately reconfigures these themes in order to inflict upon the viewer the maximum of cognitive dissonance; one is left nauseated by his or her arousal and, naturally, vice versa. Figures loitering too near the uncanny valley to be dismissed as comic book caricatures are rendered in stark monochrome in various states of bodily distress and ecstasy one may commonly find in a direct-to-VHS American splatter film. Such figures beg to be forever immortalized in print on a bootleg t-shirt given as a consolation prize to a loser of the milk jug game at the county fair. Indeed, they are often spotted on posters trumpeting Kentucky dive bar rock shows. Makeup Applied represents the zenith of Minter’s aesthetic: a disembodied arm unfurls unidentifiable viscera from a hole in the otherwise-featureless face of a blonde woman in repose as if featured in a vintage Penthouse; a maggot-faced submissive is serviced by a Domina whose head has been replaced by a severed foot in a high heel; a spider built from leather boots and a human skull hemorrhages black ooze across inverted pyramids of vaguely occult design. In each image, the iconography of erotica and horror are subverted in wonderful and confounding ways. Horror is indeed too weak and limiting a term for this work; what Minter plies, instead, is terror. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568728114741-WHD7GKM2DU0C5XTF1I45/4c6149efc4d33354-1MakeupApplied.jpg Exhibitions: Matt Minter KY - Matt Minter, Makeup Applied, 2014, acrylic on canvas, 36 x 36 inches Matt Minter Makeup Applied August 14 – September 26, 2015 Institute 193, Lexington Matt Minter is a Lexington, KY-based countercultural polymath known for music projects, video production, and, perhaps most notably, illustration work. Regardless of medium, his collective creative output mercilessly taps the same singular vein of darkly humorous psychosexual horror tableaux. Minter’s visual work employs the tropes of premium, intricately-detailed ‘70s international fetish sleaze and the graceless jacket art of ‘80s punk rock and metal albums. However, it subtly and deliberately reconfigures these themes in order to inflict upon the viewer the maximum of cognitive dissonance; one is left nauseated by his or her arousal and, naturally, vice versa. Figures loitering too near the uncanny valley to be dismissed as comic book caricatures are rendered in stark monochrome in various states of bodily distress and ecstasy one may commonly find in a direct-to-VHS American splatter film. Such figures beg to be forever immortalized in print on a bootleg t-shirt given as a consolation prize to a loser of the milk jug game at the county fair. Indeed, they are often spotted on posters trumpeting Kentucky dive bar rock shows. Makeup Applied represents the zenith of Minter’s aesthetic: a disembodied arm unfurls unidentifiable viscera from a hole in the otherwise-featureless face of a blonde woman in repose as if featured in a vintage Penthouse; a maggot-faced submissive is serviced by a Domina whose head has been replaced by a severed foot in a high heel; a spider built from leather boots and a human skull hemorrhages black ooze across inverted pyramids of vaguely occult design. In each image, the iconography of erotica and horror are subverted in wonderful and confounding ways. Horror is indeed too weak and limiting a term for this work; what Minter plies, instead, is terror. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568728080035-VG889YS0WZUP1P91MCU4/c08d6646b091b9a7-3RelieveTheCryingEye.jpg Exhibitions: Matt Minter KY - Matt Minter, Relieve the Crying Eye, 2014, acrylic on canvas, 36 x 36 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568728118560-LYCB25APK881Z38SGJ09/1a8afd9d5035cd47-2UnwrapTheGift.jpg Exhibitions: Matt Minter KY - Matt Minter, Unwrap the Gift, 2014, acrylic on canvas, 36 x 36 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568728106495-HAG3AK2GH96G9QFGPND5/066da11300181962-4TheLongDrawnMoan.jpg Exhibitions: Matt Minter KY - Matt Minter, The Long Drawn Moan, 2015, acrylic on canvas, 36 x 36 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568728101147-37AZZGJ7TLCQHJXBJMZE/9879e73abb7b1aef-7SistersSecrets.jpg Exhibitions: Matt Minter KY - Matt Minter, Sisters' Secrets, 2015, acrylic on canvas, 36 x 36 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568728069901-9I89O9LGIQHJO7CMQGIL/bd82e688105a1cc3-5WhenIFinishHimIllMoveOnToAnother.jpg Exhibitions: Matt Minter KY - Matt Minter, When I Finish Him, I'll Move On to Another, 2015, acrylic on canvas, 36 x 36 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568728069921-24X698PU624HT8EXOCQQ/bc7f3938d98bd33b-6SensoryDeprivationToStimulateClairvoyance.jpg Exhibitions: Matt Minter KY - Matt Minter, Sensory Deprivation to Stimulate Clairvoyance, 2015, acrylic on canvas, 36 x 36 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568728110240-MPM0XS2PY01YIORFE04G/45aaa096a14fd0a5-8PromiseHerBlood.jpg Exhibitions: Matt Minter KY - Matt Minter, Promise Her Blood, 2015, acrylic on canvas, 36 x 36 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568728540862-J3UU47BWNFXGUXGPG3W3/10c1cec3923e1bc0-IMG_5144WHITEBALANCED.jpg Exhibitions: Matt Minter KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568728556541-XI0SDIAPYZ1CIMW8DY4W/976020e0a25c39f1-IMG_5136whitebalanced.jpg Exhibitions: Matt Minter KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568728130849-AOL5IENDE00IGF640QP7/886def62c72aa592-IMG_5139WHITEBALANCED.jpg Exhibitions: Matt Minter KY - Installation View https://www.institute193.org/exhibitions-lloyd-hog-mattingly-ky daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741270903-F3KK1VMOLTHQ7YDMTSWL/fad31bf08baaab88-IMG_48553.png Exhibitions: Lloyd "Hog" Mattingly KY - Lloyd Mattingly, Lebanon Junction Building 20, 1982, wood, matte board, plywood, plexiglass, paper, paint, 13 x 13 x 18 inches Lloyd "Hog" Mattingly Memories of Lebanon Junction May 20 – June 20, 2015 Institute 193, Lexington Lloyd “Hog” Mattingly (1923–2003) lived in Lebanon Junction, KY, a small town in Bullitt County, where he spent his working career as a brake repairman for the L&N Railroad. As a boy, Hog made his own toys, and he carried this hobby into adulthood, making architectural models at home in his spare time. Upon retiring in 1981, he began building models full-time from his home workshop, sometimes waking up in the middle of the night to work. Mattingly had always been strongly affected by his early memories. Beginning in 1982, he devoted months to making miniature replicas of historic downtown buildings in Lebanon Junction as they looked when he was a child. A 1996 fire destroyed many of the creations in Mattingly’s workshop. Luckily, the Lebanon Junction models, stored in a separate shed, escaped the flames. The collection has since been donated to the Kentucky Museum of Art and Craft. Most architectural models speak about the future -what might be constructed, altered, or improved. However, Mattingly inverts this notion, instead using the Lebanon Junction models to replicate a reality that will never again exist. Colorful, intricate, and mostly empty, they stand together as a friendly salute to childhood as well as a memorial to the transience of time. “My memories were catching up with me. I had to make the miniatures,” Mattingly said of the work before he passed away in 2003. This exhibition is organized in collaboration with the Kentucky Museum of Art and Craft. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741270903-F3KK1VMOLTHQ7YDMTSWL/fad31bf08baaab88-IMG_48553.png Exhibitions: Lloyd "Hog" Mattingly KY - Lloyd Mattingly, Lebanon Junction Building 20, 1982, wood, matte board, plywood, plexiglass, paper, paint, 13 x 13 x 18 inches Lloyd "Hog" Mattingly Memories of Lebanon Junction May 20 – June 20, 2015 Institute 193, Lexington Lloyd “Hog” Mattingly (1923–2003) lived in Lebanon Junction, KY, a small town in Bullitt County, where he spent his working career as a brake repairman for the L&N Railroad. As a boy, Hog made his own toys, and he carried this hobby into adulthood, making architectural models at home in his spare time. Upon retiring in 1981, he began building models full-time from his home workshop, sometimes waking up in the middle of the night to work. Mattingly had always been strongly affected by his early memories. Beginning in 1982, he devoted months to making miniature replicas of historic downtown buildings in Lebanon Junction as they looked when he was a child. A 1996 fire destroyed many of the creations in Mattingly’s workshop. Luckily, the Lebanon Junction models, stored in a separate shed, escaped the flames. The collection has since been donated to the Kentucky Museum of Art and Craft. Most architectural models speak about the future -what might be constructed, altered, or improved. However, Mattingly inverts this notion, instead using the Lebanon Junction models to replicate a reality that will never again exist. Colorful, intricate, and mostly empty, they stand together as a friendly salute to childhood as well as a memorial to the transience of time. “My memories were catching up with me. I had to make the miniatures,” Mattingly said of the work before he passed away in 2003. This exhibition is organized in collaboration with the Kentucky Museum of Art and Craft. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741141126-3FQCATKFU33OHH1XEQ0Y/b3b01a05b3866e12-IMG_4829copy.png Exhibitions: Lloyd "Hog" Mattingly KY - Lloyd Mattingly, Lebanon Junction Building 7 "City Hall," 1982, wood, matte board, plywood, plexiglass, paper, paint, 12.5 x 16.5 x 10 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741053207-NHI8PF6C5UG5ICFHEWKQ/1c517032cf32ad12-IMG_48722.png Exhibitions: Lloyd "Hog" Mattingly KY - Lloyd Mattingly, Lebanon Junction Building 29, 1982, wood, matte board, plywood, plexiglass, paper, paint, 19 x 13.5 x 10.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741071628-9J99Z32QVSJUM3FY0MU7/4dddc1a24e121f68-IMG_4828copy.png Exhibitions: Lloyd "Hog" Mattingly KY - Lloyd Mattingly, Lebanon Junction Building 9 "Garage," 1982, wood, matte board, plywood, plexiglass, paper, paint, 13 x 15.25 x 18.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741460517-V85O68DOG4LUWMYUPMJP/cb7658c6f0e556c6-IMG_4927copy.png Exhibitions: Lloyd "Hog" Mattingly KY - Lloyd Mattingly, Lebanon Junction Building 14 "Bud Ryan Grocery," 1982, wood, matte board, plywood, plexiglass, paper, paint, 15 x 11.75 x 8.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741140290-RGRJEEX5BPFGU2ZC3VTJ/09690eda9f636088-IMG_4965copy.png Exhibitions: Lloyd "Hog" Mattingly KY - Lloyd Mattingly, Lebanon Junction Building 16, 1982, wood, matte board, plywood, plexiglass, paper, paint, 20 x 33 x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741076041-065C15UK1NH769KNKCQK/7bac709098e2c205-IMG_48732.png Exhibitions: Lloyd "Hog" Mattingly KY - Lloyd Mattingly, Lebanon Junction Building 3, 1982, wood, matte board, plywood, plexiglass, paper, paint, 8 x 11.75 x 6.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741263177-36FLJEBXS1D15262VLVU/e6e6685b0fc21ace-IMG_4979copy.png Exhibitions: Lloyd "Hog" Mattingly KY - Lloyd Mattingly, Lebanon Junction Building 18, 1982, wood, matte board, plywood, plexiglass, paper, paint, 48 x 36 x 26 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741053837-7TQ8NRKPA9FRGGHMAO0L/2b3866d3f2658fe3-IMG_48822.png Exhibitions: Lloyd "Hog" Mattingly KY - Lloyd Mattingly, Lebanon Junction Building 27 "L&N Freight Depot," 1982, wood, matte board, plywood, plexiglass, paper, paint, 12.5 x 27 x 16.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741083035-QROR7OB5A98RH4OOCXJW/24bc006789a25d2e-IMG_4906copy.png Exhibitions: Lloyd "Hog" Mattingly KY - Lloyd Mattingly, Lebanon Junction Building 23 "Boston Baking Co.," 1982, wood, matte board, plywood, plexiglass, paper, paint, 19.25 x 12 x 19 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741135846-IAC4HJ7HZ59A036PVAZ2/743ae33bc7f2e9aa-IMG_4916copy.png Exhibitions: Lloyd "Hog" Mattingly KY - Lloyd Mattingly, Lebanon Junction Building 26, 1982, wood, matte board, plywood, plexiglass, paper, paint, 17 x 12.5 x 12.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741255459-F9VH6KRR9OW1429TIAZF/e5f3345b543d408d-IMG_4893copy.png Exhibitions: Lloyd "Hog" Mattingly KY - Lloyd Mattingly, Lebanon Junction Building 22 "Addy Brothers Store," 1982, wood, matte board, plywood, plexiglass, paper, paint, 22 x 16 x 15 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741081230-I5H7SYBKK7RSVYA56ZZ5/5f99963c8d24cae1-IMG_4802.jpeg Exhibitions: Lloyd "Hog" Mattingly KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741067147-43WTA21I7T8V8W74SF36/2e00b0eab1cad08a-IMG_4795.jpeg Exhibitions: Lloyd "Hog" Mattingly KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568741070563-235TN0GNM5KHKDNAZQTE/4c32c1fb40814063-IMG_4760copy.jpg Exhibitions: Lloyd "Hog" Mattingly KY - Installation View https://www.institute193.org/exhibitions-lonnie-holley-ky daily 0.75 2020-02-02 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568886395133-8RVIHGF3EDPF5TENQ8XT/Holley1+copy.jpg Exhibitions: Lonnie Holley KY - Lonnie Holley, Working to Keep the Motor Running, 2008, wood, spray paint, found metal, wire, stone, 41 x 29 x 11 inches Lonnie Holley Stepping in the Footprint April 18 – June 15, 2013 Institute 193, Lexington Institute 193 is pleased to present Stepping in the Footprint, an exhibition of work by the Atlanta-based artist, Lonnie Holley. The exhibition includes a series of new paintings and sculptural assemblages that reflect Holley’s personal philosophies regarding race and cultural identity in the context of the natural and the built environment. This is Holley’s first exhibition in Kentucky. Holley’s art practice is diverse, but he is best known for richly symbolic assemblages of found objects that examine spirituality, African-American history, and the interconnectedness of all things. The three-dimensional work in this exhibition demonstrates Holley’s talent for creating powerful visual narratives with sculptural forms, and his ability to imbue prosaic objects with profound meaning. The work in this exhibition ranges from the deeply personal to the conceptually abstract. One small sculpture pays homage to a nurse who cared for Holley after a childhood accident, while another mourns Pluto’s demotion from “planet” to “dwarf planet” in 2006. Stepping In the Footprint also features a new series of paintings on paper and cloth. Holley arranges and rearranges found objects on the surface of the paper and applies spray paint, creating layered compositions with the outlines left behind. This is a new technique for the artist, who has begun to explore the properties of his materials in negative space rather than solely in three-dimensional arrangements. This exhibition was funded in part by an Eco Arts grant from the Lexington-Fayette Urban County Government Department of Environmental Quality and Public Works. The exhibition is presented in cooperation with the Souls Grown Deep Foundation in Atlanta, GA. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568886395133-8RVIHGF3EDPF5TENQ8XT/Holley1+copy.jpg Exhibitions: Lonnie Holley KY - Lonnie Holley, Working to Keep the Motor Running, 2008, wood, spray paint, found metal, wire, stone, 41 x 29 x 11 inches Lonnie Holley Stepping in the Footprint April 18 – June 15, 2013 Institute 193, Lexington Institute 193 is pleased to present Stepping in the Footprint, an exhibition of work by the Atlanta-based artist, Lonnie Holley. The exhibition includes a series of new paintings and sculptural assemblages that reflect Holley’s personal philosophies regarding race and cultural identity in the context of the natural and the built environment. This is Holley’s first exhibition in Kentucky. Holley’s art practice is diverse, but he is best known for richly symbolic assemblages of found objects that examine spirituality, African-American history, and the interconnectedness of all things. The three-dimensional work in this exhibition demonstrates Holley’s talent for creating powerful visual narratives with sculptural forms, and his ability to imbue prosaic objects with profound meaning. The work in this exhibition ranges from the deeply personal to the conceptually abstract. One small sculpture pays homage to a nurse who cared for Holley after a childhood accident, while another mourns Pluto’s demotion from “planet” to “dwarf planet” in 2006. Stepping In the Footprint also features a new series of paintings on paper and cloth. Holley arranges and rearranges found objects on the surface of the paper and applies spray paint, creating layered compositions with the outlines left behind. This is a new technique for the artist, who has begun to explore the properties of his materials in negative space rather than solely in three-dimensional arrangements. This exhibition was funded in part by an Eco Arts grant from the Lexington-Fayette Urban County Government Department of Environmental Quality and Public Works. The exhibition is presented in cooperation with the Souls Grown Deep Foundation in Atlanta, GA. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568886329121-IMIUA5MBF12UB9V61PSL/Holley1+copy.jpg Exhibitions: Lonnie Holley KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568886523720-5UIOR388F566I960XYJH/Holley2+copy.jpg Exhibitions: Lonnie Holley KY - Lonnie Holley, Steps of the Trade Center in the Act of Deterioration, 2007, wood, found metal, wire, 19 x 18 x 10 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568886608580-1VJ8FL7LM6MS3MLVVA1G/Holley3+copy.jpg Exhibitions: Lonnie Holley KY - Lonnie Holley, That Dam Rock or that Rock, Which One Holds the Power for You?, 2007, found stones, found metal, wire, wood, 28 x 9 x 11 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568886743576-IHJFT3VQD04CUI9BZSGV/Holley4+copy.jpg Exhibitions: Lonnie Holley KY - Lonnie Holley, Hiding My Roots, 2011, spray paint on paper, 17 x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568886902154-QBQCQ2LMRGFL5NWJJ86B/Holley5+copy.jpg Exhibitions: Lonnie Holley KY - Lonnie Holley, 2011, spray paint on paper, 17 x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568886966377-H91C7O1NM6AWWV5I1X75/Holley6.jpg Exhibitions: Lonnie Holley KY - Installation View https://www.institute193.org/exhibitions-ma-turner-ky daily 0.75 2020-04-15 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568895134839-0MLJVXCZ26BEP7HYKXRI/ma1.png Exhibitions: Ma Turner KY - Ma Turner, ZOZ Collection, 2013, cassette tapes, cases, dimensions variable Ma Turner ZOZ Collection March 7 – April 30, 2014 Institute 193, Lexington Ma Turner's ZOZ Collection houses twelve cassettes, each packaged inside a handmade box and featuring eighty-three individual compositions, making up roughly six hours of sound. Turner has additionally embellished the tape covers, accompanying booklets, and flags with his own artwork. The collection was recorded from January to December 2013 as an audio diary experimenting with themes of prayer and mediation, confined in a haze of martial uniformity. Incorporating various styles, some of the recorded material was arranged and executed on the spot using improvisational and "automatic" techniques as well as “cut-up” and “blind recording” methods. Other pieces were meticulously arranged, layered, and recorded over a succession of weeks. View the trailer here. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568895134839-0MLJVXCZ26BEP7HYKXRI/ma1.png Exhibitions: Ma Turner KY - Ma Turner, ZOZ Collection, 2013, cassette tapes, cases, dimensions variable Ma Turner ZOZ Collection March 7 – April 30, 2014 Institute 193, Lexington Ma Turner's ZOZ Collection houses twelve cassettes, each packaged inside a handmade box and featuring eighty-three individual compositions, making up roughly six hours of sound. Turner has additionally embellished the tape covers, accompanying booklets, and flags with his own artwork. The collection was recorded from January to December 2013 as an audio diary experimenting with themes of prayer and mediation, confined in a haze of martial uniformity. Incorporating various styles, some of the recorded material was arranged and executed on the spot using improvisational and "automatic" techniques as well as “cut-up” and “blind recording” methods. Other pieces were meticulously arranged, layered, and recorded over a succession of weeks. View the trailer here. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568895150065-0BYNM8CEHFYS9JSKBD9L/ma2.png Exhibitions: Ma Turner KY - Ma Turner, ZOZ Collection (detail), 2013, cassette tape, case, approximately 4.25 x 2.75 x 0.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568895156178-D7Y49A5QZQ4JYDB6YGN5/ma3.png Exhibitions: Ma Turner KY - Ma Turner, ZOZ Collection (detail), 2013, cassette tape, case, approximately 4.25 x 2.75 x 0.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568895166208-QK7U8ML3C2VV0SYDME74/ma4.png Exhibitions: Ma Turner KY - Ma Turner, ZOZ Collection (detail), 2013, cassette tape, case, approximately 4.25 x 2.75 x 0.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568895170862-O1FR7RDUWLLAY0HDKRHG/ma5.png Exhibitions: Ma Turner KY - Ma Turner, ZOZ Collection (detail), 2013, cassette tape, case, approximately 4.25 x 2.75 x 0.5 inches https://www.institute193.org/exhibitions-the-massengill-family-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890829672-4PICHAODHEOU0AGY9NZ8/M1.jpg Exhibitions: The Massengill Family KY - Thelma Massengill standing in the photobooth trailer, 1930s The Massengill Family Making Pictures: Three For A Dime October 9 – November 15, 2014 Institute 193, Lexington In the 1930s, the Massengill family of rural Arkansas built three portable photography studios on old truck frames, attached each to the back of any car that would run, and started a mobile photo booth business that would last for a decade. Without formal training or help, the Massengill family invented and improvised ways to mimic the popular photo booths they had seen in drugstores and brought their business to the dirt roads and open fields they knew so well. Making Pictures: Three for a Dime, featuring Massengill family prints and photo albums collected by the artist Maxine Payne, illuminates a sliver of the Depression-era South previously unseen by the public. Unlike the hardscrabble lives and worn down faces captured by WPA photographers of the time, the Massengill photographs often show folks working to look their best. A man mugs in his Sunday suit and hat; a girl preens with lusty eyes; a boy clutches his prize rooster. Hand-painted backdrops, colorized prints, and even the occasional prop add a playful edge to these scenes. Among them, we also get a haunting glimpse or two of the difficult lives being lived outside of these moments. Not unlike discovered troves of photographs by Vivian Maier or Mike Disfarmer, the Massengill photographs invite us to reconsider a time and place from a new perspective. Alongside the prints and albums, this volume includes introductions by Payne and curator Phillip March Jones, short remembrances from Lance and Evelyn Massengill, and a transcribed diary that recounts the difficulties and successes of the family business in short, powerful bursts. (“June 18, 1939 Mr Pennington drowned today. We went home about 4:00 o’clock and made cream at mama’s.”) Collected here in a handsome and ample design, Making Pictures: Three for a Dime is the definitive volume of the Massengill photographs. Press: Raising the Profile of Columbia's Art by Eve M. Kahn, New York Times, January 8, 2015 The Massengill Family: Making Pictures: Three for a Dime by Joanna Haberman, Flashpoint Magazine, October 2, 2014 Making Pictures: Three for a Dime Exhibition, Alabama Chanin, August 29, 2014 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890829672-4PICHAODHEOU0AGY9NZ8/M1.jpg Exhibitions: The Massengill Family KY - Thelma Massengill standing in the photobooth trailer, 1930s The Massengill Family Making Pictures: Three For A Dime October 9 – November 15, 2014 Institute 193, Lexington In the 1930s, the Massengill family of rural Arkansas built three portable photography studios on old truck frames, attached each to the back of any car that would run, and started a mobile photo booth business that would last for a decade. Without formal training or help, the Massengill family invented and improvised ways to mimic the popular photo booths they had seen in drugstores and brought their business to the dirt roads and open fields they knew so well. Making Pictures: Three for a Dime, featuring Massengill family prints and photo albums collected by the artist Maxine Payne, illuminates a sliver of the Depression-era South previously unseen by the public. Unlike the hardscrabble lives and worn down faces captured by WPA photographers of the time, the Massengill photographs often show folks working to look their best. A man mugs in his Sunday suit and hat; a girl preens with lusty eyes; a boy clutches his prize rooster. Hand-painted backdrops, colorized prints, and even the occasional prop add a playful edge to these scenes. Among them, we also get a haunting glimpse or two of the difficult lives being lived outside of these moments. Not unlike discovered troves of photographs by Vivian Maier or Mike Disfarmer, the Massengill photographs invite us to reconsider a time and place from a new perspective. Alongside the prints and albums, this volume includes introductions by Payne and curator Phillip March Jones, short remembrances from Lance and Evelyn Massengill, and a transcribed diary that recounts the difficulties and successes of the family business in short, powerful bursts. (“June 18, 1939 Mr Pennington drowned today. We went home about 4:00 o’clock and made cream at mama’s.”) Collected here in a handsome and ample design, Making Pictures: Three for a Dime is the definitive volume of the Massengill photographs. Press: Raising the Profile of Columbia's Art by Eve M. Kahn, New York Times, January 8, 2015 The Massengill Family: Making Pictures: Three for a Dime by Joanna Haberman, Flashpoint Magazine, October 2, 2014 Making Pictures: Three for a Dime Exhibition, Alabama Chanin, August 29, 2014 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890826773-MDJUM1JR167T3N1R6H14/M2.jpg Exhibitions: The Massengill Family KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890833212-EN6EBY747TAQIHMAHECP/M3.jpg Exhibitions: The Massengill Family KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890834806-Y7HRIUGAPAZE6QK1FFK4/M4.jpg Exhibitions: The Massengill Family KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890845933-FMVYI4ZLBSG0MZ8LAIXR/M5.jpg Exhibitions: The Massengill Family KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890845650-Z0LSCX1K7K87UVFSU5QL/M6.jpg Exhibitions: The Massengill Family KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890853263-CEPRJDMQVAOABFSSAIIN/M7.jpg Exhibitions: The Massengill Family KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890854748-0GXHGZP8FND8HJVY3WIC/M8.jpg Exhibitions: The Massengill Family KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890859092-2RWXX0AW7JIKK0WEY9QV/M9.jpg Exhibitions: The Massengill Family KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890861470-FB9PTRI3WMR966UZWZBQ/M10.jpg Exhibitions: The Massengill Family KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890863384-3K162QSPFMWDHT25D199/M11.jpg Exhibitions: The Massengill Family KY - Installation View https://www.institute193.org/exhibitions-jordan-speer-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891543466-AZ3D0BWDOI0BQ5ONV1YZ/speer1.jpg Exhibitions: Jordan Speer KY - Jordan Speer, Cautious V, 2014, video game still Jordan Speer Cautious V September 4 – 27, 2014 Institute 193, Lexington Giant desert slugs, endangered scorpions, burning tires, convenience stores, and a high school football team inexplicably trapped in a slime-filled sewer system populate Jordan Speer’s most recent work, a post-apocalyptic video game titled Cautious V. Visually, the game is reminiscent of an older generation of games and could be mistaken for one, if not for lack of a defined goal or reward. There are no princesses hiding in castles or dangerous enemies to kill; there is only the landscape to navigate. There are, of course, plenty of things to kill in the game, but it will not help you get to the next level, and there is no reward. You might even be verbally chastised for your murderous ways. Speer’s existential environment is presented in an arcade machine, a device that long ago entered into the realm of novelty and nostalgia. This format gives the game a physicality that modern games no longer possess and invites “over the shoulder” viewing, common to arcades all over the world in prior decades. Cautious V asks the player to publicly maneuver a small red-cloaked character with big eyes and alien blue hands through Speer’s digitally engineered world with only a vague promise of an ultimately inaccessible “outside world” as guide. Not unlike the rules of our own mortal existence, Speer’s game posits that experience is the only reward for playing. Play Cautious V here. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891543466-AZ3D0BWDOI0BQ5ONV1YZ/speer1.jpg Exhibitions: Jordan Speer KY - Jordan Speer, Cautious V, 2014, video game still Jordan Speer Cautious V September 4 – 27, 2014 Institute 193, Lexington Giant desert slugs, endangered scorpions, burning tires, convenience stores, and a high school football team inexplicably trapped in a slime-filled sewer system populate Jordan Speer’s most recent work, a post-apocalyptic video game titled Cautious V. Visually, the game is reminiscent of an older generation of games and could be mistaken for one, if not for lack of a defined goal or reward. There are no princesses hiding in castles or dangerous enemies to kill; there is only the landscape to navigate. There are, of course, plenty of things to kill in the game, but it will not help you get to the next level, and there is no reward. You might even be verbally chastised for your murderous ways. Speer’s existential environment is presented in an arcade machine, a device that long ago entered into the realm of novelty and nostalgia. This format gives the game a physicality that modern games no longer possess and invites “over the shoulder” viewing, common to arcades all over the world in prior decades. Cautious V asks the player to publicly maneuver a small red-cloaked character with big eyes and alien blue hands through Speer’s digitally engineered world with only a vague promise of an ultimately inaccessible “outside world” as guide. Not unlike the rules of our own mortal existence, Speer’s game posits that experience is the only reward for playing. Play Cautious V here. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891550916-0JL5A76K5IXW7N0TM216/speer2.jpg Exhibitions: Jordan Speer KY - Jordan Speer, Cautious V, 2014, video game still https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891555204-TWMCLTC7HX2MOLMAVY15/speer3.jpg Exhibitions: Jordan Speer KY - Jordan Speer, Cautious V, 2014, video game still https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891566496-6JQ3MVY28S7697A450LL/speer4.jpg Exhibitions: Jordan Speer KY - Jordan Speer, Cautious V, 2014, video game still https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891566402-KWUJCNB6J41W3RQFQAD1/speer5.jpg Exhibitions: Jordan Speer KY - Jordan Speer, Cautious V, 2014, video game still https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891574154-1YK2JT7UTGMXJIGKLH95/speer6.jpg Exhibitions: Jordan Speer KY - Jordan Speer, Cautious V, 2014, video game still https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891577578-VENLI6GOM0B5RJ1O94U6/speer7.jpg Exhibitions: Jordan Speer KY - Jordan Speer, Cautious V, 2014, video game still https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891590196-ZKZHSMH6H31T2JY3I033/speer8.jpg Exhibitions: Jordan Speer KY - Jordan Speer, Cautious V, 2014, video game still https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891589217-Q4XMRXC44TXLSUWAM4FZ/speer9.jpg Exhibitions: Jordan Speer KY - Jordan Speer, Cautious V, 2014, video game still https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891598701-V4VECJMBL6CVRVJRQUW8/speer10.jpg Exhibitions: Jordan Speer KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891600181-MQTVAU1QNAB6J34GVE0M/speer11.jpg Exhibitions: Jordan Speer KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891603928-6PCNVNRBKR6JLAWPU5LL/speer12.jpg Exhibitions: Jordan Speer KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891606435-YMWPMAN4TO7VW54NQL33/speer13.jpg Exhibitions: Jordan Speer KY - Jordan Speer, Cautious V, 2014, video game still https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891613340-HD0IVBU2YNV3CGRV2BFD/speer14.jpg Exhibitions: Jordan Speer KY - Jordan Speer, Cautious V, 2014, video game still https://www.institute193.org/exhibitions-ralph-eugene-meatyard-ky daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568894594580-W1MXAXHOWNJGJYMSDO0K/meat1.jpg Exhibitions: Ralph Eugene Meatyard KY Ralph Eugene Meatyard Photographing Thomas Merton June 17 – July 26, 2014 Institute 193, Lexington Ralph Eugene Meatyard was first introduced to Thomas Merton at the Cistercian Abbey of Gethsemani, near Bardstown, Kentucky, in 1967. The two men clearly made an impression on one another and quickly embarked on a friendship and creative dialogue that would last two years, cut short only by Merton’s untimely death. In that brief amount of time, they held intense conversations, exchanged letters, and Merton became the subject for a series of photographs by Meatyard, the focus of our exhibition. Thomas Merton, a willing and complicit model, appears in a variety of costumes throughout the photographs. He wears blue jeans and a t-shirt, the work clothes of a tobacco farmer, or the complete habit of a Cistercian monk. Meatyard takes full advantage of the various outfits and their social ramifications to cast his model as spirit, common man, or saint. Merton was, undoubtedly, all of these things at various moments throughout his life. These portrait sessions grew out of picnics, dinners, and casual meetings among friends. Jonathan Williams, Guy Davenport, Wendell Berry, and others make appearances in the photographs — witnesses and participants in a vibrant cultural scene that existed in Kentucky at that time. With our now omniscient knowledge of the past we cannot help but look at these photographs with a sense of foreboding and inevitable death. They are, after all, some of the last images of Merton, who died traveling abroad in the winter of 1968. As an optician in Lexington, Meatyard spent his life helping people see. His shop, Eyeglasses of Kentucky, provided people with the physical means to better envision the world, but also the opportunity to view photographs and other works of art that opened their eyes to a larger world of visual possibility. Just before his final trip to Asia, Merton exhibited a series of his calligraphies at Meatyard’s shop. The photographer bought the eight works in the exhibition from his friend and sent him on his way. Meatyard wrote about Merton after his death, but their connection was perhaps best captured in these portraits of a famous man, of friendship, and of vision itself. This exhibition is presented in collaboration with the Center for Interfaith Relations and sponsored in part by Lexington’s Good Shepherd Episcopal Church. A publication titled Meatyard/Merton, Merton/Meatyard: Photographing Thomas Merton has been produced in conjunction with the exhibition by Fons Vitae and is available through Institute 193. It features essays by Stephen Reily, Roger Lipsey, and Christopher Meatyard. All images courtesy of Christopher Meatyard. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568894594580-W1MXAXHOWNJGJYMSDO0K/meat1.jpg Exhibitions: Ralph Eugene Meatyard KY Ralph Eugene Meatyard Photographing Thomas Merton June 17 – July 26, 2014 Institute 193, Lexington Ralph Eugene Meatyard was first introduced to Thomas Merton at the Cistercian Abbey of Gethsemani, near Bardstown, Kentucky, in 1967. The two men clearly made an impression on one another and quickly embarked on a friendship and creative dialogue that would last two years, cut short only by Merton’s untimely death. In that brief amount of time, they held intense conversations, exchanged letters, and Merton became the subject for a series of photographs by Meatyard, the focus of our exhibition. Thomas Merton, a willing and complicit model, appears in a variety of costumes throughout the photographs. He wears blue jeans and a t-shirt, the work clothes of a tobacco farmer, or the complete habit of a Cistercian monk. Meatyard takes full advantage of the various outfits and their social ramifications to cast his model as spirit, common man, or saint. Merton was, undoubtedly, all of these things at various moments throughout his life. These portrait sessions grew out of picnics, dinners, and casual meetings among friends. Jonathan Williams, Guy Davenport, Wendell Berry, and others make appearances in the photographs — witnesses and participants in a vibrant cultural scene that existed in Kentucky at that time. With our now omniscient knowledge of the past we cannot help but look at these photographs with a sense of foreboding and inevitable death. They are, after all, some of the last images of Merton, who died traveling abroad in the winter of 1968. As an optician in Lexington, Meatyard spent his life helping people see. His shop, Eyeglasses of Kentucky, provided people with the physical means to better envision the world, but also the opportunity to view photographs and other works of art that opened their eyes to a larger world of visual possibility. Just before his final trip to Asia, Merton exhibited a series of his calligraphies at Meatyard’s shop. The photographer bought the eight works in the exhibition from his friend and sent him on his way. Meatyard wrote about Merton after his death, but their connection was perhaps best captured in these portraits of a famous man, of friendship, and of vision itself. This exhibition is presented in collaboration with the Center for Interfaith Relations and sponsored in part by Lexington’s Good Shepherd Episcopal Church. A publication titled Meatyard/Merton, Merton/Meatyard: Photographing Thomas Merton has been produced in conjunction with the exhibition by Fons Vitae and is available through Institute 193. It features essays by Stephen Reily, Roger Lipsey, and Christopher Meatyard. All images courtesy of Christopher Meatyard. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568894596598-9GE17UDH6KW3C1ZKX4GG/meat2.jpg Exhibitions: Ralph Eugene Meatyard KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568894602187-0RHQH8VN4ZP2GNP8JEOS/meat3.jpg Exhibitions: Ralph Eugene Meatyard KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568894603153-45PIXKPW6MLGWKD8XS6L/meat4.jpg Exhibitions: Ralph Eugene Meatyard KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568894609251-D4Q832PEYYQOVW0NM8YN/meat5.jpg Exhibitions: Ralph Eugene Meatyard KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568894610484-C1P795JZSW1C1QIWUWER/meat6.jpg Exhibitions: Ralph Eugene Meatyard KY - Installation View https://www.institute193.org/exhibitions-sameer-reddy-ky daily 0.75 2020-02-02 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568991198833-TJERL6PPAHKOZBPQ7TFF/1.jpg Exhibitions: Sameer Reddy KY - Sameer Reddy, Light As A Feather, 2012, balance scale, silver leaf, chrome, stainless steel plate, holy water bottle, Smartwater Sameer Reddy Apokalypsis Now Curated by Tali Wertheimer February 15 – April 6, 2013 Institute 193, Lexington For Reddy, the roles of the artist and the shaman often overlap. He embraces the notion of using art as a tool for engaging the fundamental mysteries of the human experience, and also for affecting healing on a personal, as well as a societal level. Reddy proposes that aesthetic forms of expression have spiritual potential. In his work, he employs imagery appropriated from religious iconography, advertising, pop culture, and fairy tales, tweaking familiar archetypes to explore and expand the concept of sacredness. His sculptures, photographs, and performance pieces are intended to function as cathartic agents for a viewer or participant, encouraging a transcendent shift in perception. Reddy’s performance at Institute 193 took the form of a series of one-on-one healing rituals that incorporate symbolic elements of Buddhist thought, Christian baptism, and rites that originated on the African continent. The performance is an experiment in understanding and engaging with doubt; participants did not have to subscribe to any particular belief system. His exhibition included a series of sculptures and installations that are simultaneously props for his performance and stand-alone pieces that can function independently of the ritual. Reddy considers these works icons, relics imbued with reparative power. Press: Artist provides rebirth experience by Rich Copley, Lexington Herald-Leader, February 17, 2013 Mean Times Make Nice Art | Spiritual and Soothing Art by Sameer Reddy by Ana Finel Honigman, International Sculpture Center, February 28, 2013 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568991198833-TJERL6PPAHKOZBPQ7TFF/1.jpg Exhibitions: Sameer Reddy KY - Sameer Reddy, Light As A Feather, 2012, balance scale, silver leaf, chrome, stainless steel plate, holy water bottle, Smartwater Sameer Reddy Apokalypsis Now Curated by Tali Wertheimer February 15 – April 6, 2013 Institute 193, Lexington For Reddy, the roles of the artist and the shaman often overlap. He embraces the notion of using art as a tool for engaging the fundamental mysteries of the human experience, and also for affecting healing on a personal, as well as a societal level. Reddy proposes that aesthetic forms of expression have spiritual potential. In his work, he employs imagery appropriated from religious iconography, advertising, pop culture, and fairy tales, tweaking familiar archetypes to explore and expand the concept of sacredness. His sculptures, photographs, and performance pieces are intended to function as cathartic agents for a viewer or participant, encouraging a transcendent shift in perception. Reddy’s performance at Institute 193 took the form of a series of one-on-one healing rituals that incorporate symbolic elements of Buddhist thought, Christian baptism, and rites that originated on the African continent. The performance is an experiment in understanding and engaging with doubt; participants did not have to subscribe to any particular belief system. His exhibition included a series of sculptures and installations that are simultaneously props for his performance and stand-alone pieces that can function independently of the ritual. Reddy considers these works icons, relics imbued with reparative power. Press: Artist provides rebirth experience by Rich Copley, Lexington Herald-Leader, February 17, 2013 Mean Times Make Nice Art | Spiritual and Soothing Art by Sameer Reddy by Ana Finel Honigman, International Sculpture Center, February 28, 2013 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568991206825-070975BUZ6YJZYGKIPT6/2.jpg Exhibitions: Sameer Reddy KY - Sameer Reddy, Diamonds and Pearls, 2012, balance scale, paint, natural pearls, synthetic pearls, pearl powder, natural diamonds, synthetic diamonds, diamond powder, quartz https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568991207402-LVOXR0NF4VKEODYONKDE/3.jpg Exhibitions: Sameer Reddy KY - Sameer Reddy, Good Fortune, 2012, fortune cookie https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568991211366-4GNJQU9HTATOKGZ89AY1/4.jpg Exhibitions: Sameer Reddy KY - Sameer Reddy, Untitled (Shame), Untitled (hope), Untitled (reflection), 2013, sheet metal box with black patina, acrylic box, mirrored box https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568991210376-0108TEC15QEXVU3CKMNS/5.jpg Exhibitions: Sameer Reddy KY - Sameer Reddy, The Sound of My Voice, 2013, lightbox, silver foil https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568991212529-9V66Q5ZGUPX59EADZAPW/6.jpg Exhibitions: Sameer Reddy KY - Sameer Reddy, Wisdom, 2013, vinyl lettering https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568991217014-2MYDSIDVL7TSXTE1J9DZ/7.jpg Exhibitions: Sameer Reddy KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568991218134-OCN2QGTWG58TYW64WYLX/8.jpg Exhibitions: Sameer Reddy KY - Performance View https://www.institute193.org/exhibitions-carey-gough-ky daily 0.75 2020-02-02 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568908082369-WWRYGAUSWY4X2FME0FEQ/carey1.jpg Exhibitions: Carey Gough KY - Carey Gough, Untitled (Bill Monroe Homeplace, Jerusalem Ridge, Kentucky), 2012 Carey Gough A Music So Subtle and Vast October 10 – November 9, 2013 Institute 193, Lexington Originally from Kentucky, Gough has lived in Shrewsbury, England for more than a decade. In recent years, Gough has traveled home to photograph sites in Kentucky that are significant in the history of folk music. She has sought out the homes where prominent musicians were born, the churches and stages where they won acclaim, the sometimes-unsavory spots where they died, and places featured in their song lyrics. These images are meditations on time and nostalgia. The sites Gough documents are often abandoned, dilapidated, or just empty. Despite the cultural pedigree of these places, time has taken its toll. The project is also deeply personal. As an expatriate, Gough uses bluegrass music as a lifeline—a way of accessing home from afar. The tension between the realities she captures with her camera and the mythical Kentucky that can only exist in song lyrics imbues these photographs with a sense of loss and impermanence. Gough’s photographs—like the music that inspired them—are sometimes politically charged, pointing to the impact of indigence, violence, and environmental degradation on the rural American South. She turns her lens on a run-down nightclub rumored to harbor the ghost of Pearl Bryan, the victim of a gruesome nineteen-century murder and the subject of many folk ballads. In another picture, Gough documents a road that once led to a town named Paradise (the topic of a John Prine song) that has since disappeared, replaced by a coal company’s corporate headquarters. The exhibition is part of the 2013 Louisville Photo Biennial. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568908082369-WWRYGAUSWY4X2FME0FEQ/carey1.jpg Exhibitions: Carey Gough KY - Carey Gough, Untitled (Bill Monroe Homeplace, Jerusalem Ridge, Kentucky), 2012 Carey Gough A Music So Subtle and Vast October 10 – November 9, 2013 Institute 193, Lexington Originally from Kentucky, Gough has lived in Shrewsbury, England for more than a decade. In recent years, Gough has traveled home to photograph sites in Kentucky that are significant in the history of folk music. She has sought out the homes where prominent musicians were born, the churches and stages where they won acclaim, the sometimes-unsavory spots where they died, and places featured in their song lyrics. These images are meditations on time and nostalgia. The sites Gough documents are often abandoned, dilapidated, or just empty. Despite the cultural pedigree of these places, time has taken its toll. The project is also deeply personal. As an expatriate, Gough uses bluegrass music as a lifeline—a way of accessing home from afar. The tension between the realities she captures with her camera and the mythical Kentucky that can only exist in song lyrics imbues these photographs with a sense of loss and impermanence. Gough’s photographs—like the music that inspired them—are sometimes politically charged, pointing to the impact of indigence, violence, and environmental degradation on the rural American South. She turns her lens on a run-down nightclub rumored to harbor the ghost of Pearl Bryan, the victim of a gruesome nineteen-century murder and the subject of many folk ballads. In another picture, Gough documents a road that once led to a town named Paradise (the topic of a John Prine song) that has since disappeared, replaced by a coal company’s corporate headquarters. The exhibition is part of the 2013 Louisville Photo Biennial. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568908071129-WTBPCA4ZP7EM3A72FRXV/c2.jpg Exhibitions: Carey Gough KY - Carey Gough, Untitled (Interior of Bobby Mackey’s Music World), 2012 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568908073767-DTRGOV4ZJ4PH1TUVVUX4/c3.jpg Exhibitions: Carey Gough KY - Carey Gough, Untitled (Road to Paradise), 2012 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568908076909-WQD63HNFTVCRAAKU2WOA/c4.jpg Exhibitions: Carey Gough KY - Carey Gough, Untitled (Rosine Square Dance), 2012 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568908082708-51YGNE9TU1PX2SBIU9NN/c5.jpg Exhibitions: Carey Gough KY - Carey Gough, Untitled (Four Legends Fountain, Drakesboro, Kentucky), 2012 https://www.institute193.org/exhibitions-t-a-hay-ky daily 0.75 2020-02-02 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890145613-6GBASVUB3TG2DTZ02H1L/hay1.png Exhibitions: T. A. Hay KY - T. A. Hay, Untitled (Dog), 1982, shoe polish, marker, masking tape, and yarn on paper, 6.25 x 9 inches T. A. Hay Farm Works February 12 – March 21, 2015 Institute 193, Lexington Institute 193 is pleased to present Farm Works, an exhibition of drawings and paintings by the late T. A. Hay, organized in collaboration with the Tanner Hill Gallery in Chattanooga, TN. A self-taught artist who lived and worked in rural Kentucky, T. A. Hay abstracted images repeatedly seen in his everyday life in order to satisfy a horror vacui compulsion to clutter the walls of his seven-room farmhouse. Aside from their raw aesthetic value, his works serve as a memoir of late twentieth century Kentucky farm life and of one man’s endeavor to recover his past. Thomas Andrew Hay was born in Clinton County, Kentucky, where he grew up on his family farm before leaving home at age fifteen. After several years spent “hobo-ing” throughout the United States and working as a map sketcher for the British military in World War I, he returned to Kentucky, where he would spend the rest of his life. It was not until Hay was in his late seventies, unable to keep up with farm work, that a woodworking hobby gave way to greater creative expression. He began creating simple, yet refined, images using accessible materials. With shoe polish for paint and his finger as a brush, he decorated gourds, wood blocks, paper plates, found styrofoam, and his own hand-carved sculptures. Though his work may at first appear as conceptually simple as he has presented it visually, T. A. Hay’s work is imbued with meaning. He displays an innate ability to distill forms into fundamental, yet recognizable, geometries, bringing to mind Alabama artist Bill Traylor. The two-dimensional pieces exhibited in Farm Works depict such subjects as horses, ox shoes, and spinning wheels, his ardent repetition of which mirrors the meditative routine of farm labor. During his life, he occasionally received local press and visits to his home to view his art, but Hay’s work has not been widely shown. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890145613-6GBASVUB3TG2DTZ02H1L/hay1.png Exhibitions: T. A. Hay KY - T. A. Hay, Untitled (Dog), 1982, shoe polish, marker, masking tape, and yarn on paper, 6.25 x 9 inches T. A. Hay Farm Works February 12 – March 21, 2015 Institute 193, Lexington Institute 193 is pleased to present Farm Works, an exhibition of drawings and paintings by the late T. A. Hay, organized in collaboration with the Tanner Hill Gallery in Chattanooga, TN. A self-taught artist who lived and worked in rural Kentucky, T. A. Hay abstracted images repeatedly seen in his everyday life in order to satisfy a horror vacui compulsion to clutter the walls of his seven-room farmhouse. Aside from their raw aesthetic value, his works serve as a memoir of late twentieth century Kentucky farm life and of one man’s endeavor to recover his past. Thomas Andrew Hay was born in Clinton County, Kentucky, where he grew up on his family farm before leaving home at age fifteen. After several years spent “hobo-ing” throughout the United States and working as a map sketcher for the British military in World War I, he returned to Kentucky, where he would spend the rest of his life. It was not until Hay was in his late seventies, unable to keep up with farm work, that a woodworking hobby gave way to greater creative expression. He began creating simple, yet refined, images using accessible materials. With shoe polish for paint and his finger as a brush, he decorated gourds, wood blocks, paper plates, found styrofoam, and his own hand-carved sculptures. Though his work may at first appear as conceptually simple as he has presented it visually, T. A. Hay’s work is imbued with meaning. He displays an innate ability to distill forms into fundamental, yet recognizable, geometries, bringing to mind Alabama artist Bill Traylor. The two-dimensional pieces exhibited in Farm Works depict such subjects as horses, ox shoes, and spinning wheels, his ardent repetition of which mirrors the meditative routine of farm labor. During his life, he occasionally received local press and visits to his home to view his art, but Hay’s work has not been widely shown. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890145112-O6W48E3N3SE0J1RHQ3BD/hay2.jpg Exhibitions: T. A. Hay KY - T. A. Hay, Untitled (Horse), 1982, shoe polish, marker, and masking tape on paper, 6 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890147725-01K6WT2LPLI6620UN8QH/hay3.jpg Exhibitions: T. A. Hay KY - T. A. Hay, Spider Web, 1982, shoe polish, marker, and pen on paper, 9.5 x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890148380-51TG63TR52C9FEUQQUGM/hay4.jpg Exhibitions: T. A. Hay KY - T. A. Hay, Untitled (Bird), 1982, shoe polish, marker, pen, masking tape, and yarn on paper, 6 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890141300-ZKUFFJ996FM6U4F3HGYE/hay+5.jpg Exhibitions: T. A. Hay KY - T. A. Hay, Untitled (Rooster), 1982, shoe polish, marker, masking tape, and yarn on paper, 6.5 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890150952-6SQZS87ZKLYOMHJQP77Q/hay6.jpg Exhibitions: T. A. Hay KY - T. A. Hay, Untitled (Horse), 1979, Shoe polish, marker, and paper on board, 5 x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890152332-X51DRL7JSTKTFHHFCTXW/hay7.jpg Exhibitions: T. A. Hay KY - T. A. Hay, Untitled (Owl), 1980, shoe polish, marker, pencil, and yarn on paper, 6 x 4.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890155268-4QIVCDK9PSGSF2LCFKZM/hay8.jpg Exhibitions: T. A. Hay KY - T. A. Hay, Untitled (Bird), 1979, shoe polish and marker on paper, 3.75 x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890155969-7DM4NK3F50XNJX3HL00E/hay9.jpg Exhibitions: T. A. Hay KY - T. A. Hay, Untitled (Horseshoe), 1987, marker and yarn on paper on board, 5.25 x 4.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890173672-Q5Y2AWHMN104T8472TV2/hay10.png Exhibitions: T. A. Hay KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890172604-KZ0Z70X9L99K5TOAZHLJ/hay11.png Exhibitions: T. A. Hay KY - Installation View https://www.institute193.org/exhibitions-stephanie-dowda-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568889550977-HKHFYW0Y9B480IG3PYIZ/step1.jpg Exhibitions: Stephanie Dowda KY - Stephanie Dowda, All Those Who Shimmer, 2014, gelatin silver print, edition 1/5, 20 x 24 inches Stephanie Dowda Genius Loci April 3 – May 16, 2015 Institute 193, Lexington “Genius Loci,” Latin for “spirit of place,” comprises several large-scale photographs from Dowda’s Topophilia series. Some of the works in this exhibition were photographed in Kentucky, and some will be revealed for the first time at Institute 193. However, all of the images are united by Dowda’s powerful ability to draw the energy of a physical place through a camera lens. Far beyond mere representational landscapes, the works exhibited in Genius Loci are fascinating products of the intersection of the mechanical and the spiritual. They are at once discernable and elusive. Says Dowda of her work: “Places contain history, emotions and sensations as energy which we experience as visceral feelings transmitted by the natural world. Through my photography, I capture this energy as light onto film.” https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568889550977-HKHFYW0Y9B480IG3PYIZ/step1.jpg Exhibitions: Stephanie Dowda KY - Stephanie Dowda, All Those Who Shimmer, 2014, gelatin silver print, edition 1/5, 20 x 24 inches Stephanie Dowda Genius Loci April 3 – May 16, 2015 Institute 193, Lexington “Genius Loci,” Latin for “spirit of place,” comprises several large-scale photographs from Dowda’s Topophilia series. Some of the works in this exhibition were photographed in Kentucky, and some will be revealed for the first time at Institute 193. However, all of the images are united by Dowda’s powerful ability to draw the energy of a physical place through a camera lens. Far beyond mere representational landscapes, the works exhibited in Genius Loci are fascinating products of the intersection of the mechanical and the spiritual. They are at once discernable and elusive. Says Dowda of her work: “Places contain history, emotions and sensations as energy which we experience as visceral feelings transmitted by the natural world. Through my photography, I capture this energy as light onto film.” https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568889551331-SUYFFOSZO6D1NUVM5IP0/step2.jpg Exhibitions: Stephanie Dowda KY - Stephanie Dowda, Cosme Ruggeri, 2015, gelatin silver print, edition 1/5, 20 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568889555620-L3P193OGBJ7VC60MSY9B/step3.jpg Exhibitions: Stephanie Dowda KY - Stephanie Dowda, Genius Loci, 2016, gelatin silver print, edition 2/5, 20 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568889558866-W6HWSW97WUACHUG9MJ6H/step4.jpg Exhibitions: Stephanie Dowda KY - Stephanie Dowda, Of Whisper, 2013, gelatin silver print, edition 3/5, 20 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568889559535-9MLNPX2PDX43T34FLV4B/step5.jpg Exhibitions: Stephanie Dowda KY - Stephanie Dowda, Keep Yourself Awakened, 2014, gelatin silver print contact sheet, edition 1/7, 20 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568889564928-4C4EKW5WVTFFEZG9BRW8/step6.jpg Exhibitions: Stephanie Dowda KY - Stephanie Dowda, To Hold On, 2015, gelatin silver print, edition 1/5, 20 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568889565482-8A9X5BLQCJA11GIHBTXI/step7.jpg Exhibitions: Stephanie Dowda KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568889570737-ISEM2D6HIDZ7BZWMHWNA/step8.jpg Exhibitions: Stephanie Dowda KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568889571524-GH6IF4B7H9PHUX3B2JM2/step9.jpg Exhibitions: Stephanie Dowda KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568889576452-VX6GCOQNBW6TW7C21CRU/step10.jpg Exhibitions: Stephanie Dowda KY - Installation View https://www.institute193.org/exhibitions-colleen-toutant-merrill-ky daily 0.75 2020-04-15 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569066576260-JT9I5RG0MBPVTC5HOU55/1.jpg Exhibitions: Colleen Toutant Merrill KY - Colleen Toutant Merrill, The Bros, 2012, found Facebok image, quilt piece, cotton embroidery thread, 16 x 20 inches Colleen Toutant Merrill Amended Artifacts November 1 – December 15, 2012 Institute 193, Lexington Institute 193 is pleased to present Amended Artifacts, a solo exhibition of new work by the artist Colleen Toutant Merrill. Merrill repurposes handmade quilts into fabric sculptures and embroidered two-dimensional works that examine contemporary systems of communication. For Merrill, quilts serve as artifacts of collective identities. In many cultures, quilt-making was a communal activity, and the product of a quilting bee’s labor was a tangible relic of their interactions with one another. Contemporary relationships also produce artifacts, but these are increasingly of a digital, easily replicable nature. Merrill has printed a series of photographs gleaned from social media—the intangible artifacts of modern relationships—and stitched cloth from found quilts over top of them into patterns that recall traditional quilt designs, and also reference the facial recognition software used by Facebook. The faces in the photographs are obscured by the quilted fabric, creating unsettling images that question the impact of social media on the formation of our personal and collective identities. This exhibition also includes a series of found, handmade quilts Merrill has deconstructed and re-stitched into large-scale works that complicate the division between what is considered craft and what is considered fine art. Displayed beside her altered social media images, these textured, tactile pieces underscore the changes in physical culture brought on by technology. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569066576260-JT9I5RG0MBPVTC5HOU55/1.jpg Exhibitions: Colleen Toutant Merrill KY - Colleen Toutant Merrill, The Bros, 2012, found Facebok image, quilt piece, cotton embroidery thread, 16 x 20 inches Colleen Toutant Merrill Amended Artifacts November 1 – December 15, 2012 Institute 193, Lexington Institute 193 is pleased to present Amended Artifacts, a solo exhibition of new work by the artist Colleen Toutant Merrill. Merrill repurposes handmade quilts into fabric sculptures and embroidered two-dimensional works that examine contemporary systems of communication. For Merrill, quilts serve as artifacts of collective identities. In many cultures, quilt-making was a communal activity, and the product of a quilting bee’s labor was a tangible relic of their interactions with one another. Contemporary relationships also produce artifacts, but these are increasingly of a digital, easily replicable nature. Merrill has printed a series of photographs gleaned from social media—the intangible artifacts of modern relationships—and stitched cloth from found quilts over top of them into patterns that recall traditional quilt designs, and also reference the facial recognition software used by Facebook. The faces in the photographs are obscured by the quilted fabric, creating unsettling images that question the impact of social media on the formation of our personal and collective identities. This exhibition also includes a series of found, handmade quilts Merrill has deconstructed and re-stitched into large-scale works that complicate the division between what is considered craft and what is considered fine art. Displayed beside her altered social media images, these textured, tactile pieces underscore the changes in physical culture brought on by technology. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569066579990-NMGK1HFI8FD8VQTTEJTU/2+copy.jpg Exhibitions: Colleen Toutant Merrill KY - Colleen Toutant Merrill, Scanned and Recognized at Birth (1–4), 2012, found Facebook images, quilt pieces, cotton embroidery thread, 16 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569066584750-9TF8MB7DOAC2WNV9XCZW/3+copy.jpg Exhibitions: Colleen Toutant Merrill KY - Colleen Toutant Merrill, Amended Quilt from Patsy, 2012, manipulated found quilt, silk embroidery thread https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569066589466-6S7367DHNN4QRWITOJ3L/4+copy.jpg Exhibitions: Colleen Toutant Merrill KY - Colleen Toutant Merrill, Amended Quilt from Patsy https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569066593142-1BWCLV8HYTDXJMAZZFCA/5+copy.jpg Exhibitions: Colleen Toutant Merrill KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569066597247-DOL0UZEOBSF5CAHQZ6N2/6+copy.jpg Exhibitions: Colleen Toutant Merrill KY - Installation View https://www.institute193.org/exhibitions-john-martin-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568974394988-Q19Y2WN27Q5P4ZOQWVKM/j1.jpg Exhibitions: John Martin KY - John Martin, Untitled (Red Leatherman), 2012, acrylic on wood, 10 x 19 x 1 inches John Martin Multi-tools September 5 – October 5, 2013 Institute 193, Lexington A Mississippi native, John Martin lives in Oakland, California, where he works with the Creative Growth Art Center, an organization that serves adult artists with developmental, mental, and physical disabilities. Multi-tools is presented in collaboration with the Creative Growth Art Center. It is one of two exhibitions of Creative Growth artists on view in Kentucky in 2013: the exhibition Creative Growth: Dan Miller & Judith Scott (curated by Matthew Higgs) will be on display at the Kentucky Museum of Art and Craft in Louisville, KY from September 7 to November 3. Martin assembles his sculptures from wood scraps that he covers in thick layers of bright paint. These sculptures depict men, animals, and automobiles configured into folding shapes that often resemble Swiss Army knives: a wolf crouches inside a lighter, a knife with many appendages squats like a small dinosaur, a garish pink flamingo rises out of the head of a man wearing sunglasses. Martin’s unusual juxtapositions imbue prosaic imagery gleaned from pop culture—fast food advertising, the Transformers film franchise—with whimsy and unexpected humor. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568974394988-Q19Y2WN27Q5P4ZOQWVKM/j1.jpg Exhibitions: John Martin KY - John Martin, Untitled (Red Leatherman), 2012, acrylic on wood, 10 x 19 x 1 inches John Martin Multi-tools September 5 – October 5, 2013 Institute 193, Lexington A Mississippi native, John Martin lives in Oakland, California, where he works with the Creative Growth Art Center, an organization that serves adult artists with developmental, mental, and physical disabilities. Multi-tools is presented in collaboration with the Creative Growth Art Center. It is one of two exhibitions of Creative Growth artists on view in Kentucky in 2013: the exhibition Creative Growth: Dan Miller & Judith Scott (curated by Matthew Higgs) will be on display at the Kentucky Museum of Art and Craft in Louisville, KY from September 7 to November 3. Martin assembles his sculptures from wood scraps that he covers in thick layers of bright paint. These sculptures depict men, animals, and automobiles configured into folding shapes that often resemble Swiss Army knives: a wolf crouches inside a lighter, a knife with many appendages squats like a small dinosaur, a garish pink flamingo rises out of the head of a man wearing sunglasses. Martin’s unusual juxtapositions imbue prosaic imagery gleaned from pop culture—fast food advertising, the Transformers film franchise—with whimsy and unexpected humor. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568974391009-W1GLN36GYP4RC09A5DXI/j2+copy.jpg Exhibitions: John Martin KY - John Martin, Untitled (KFC Colonel), 2013, acrylic on wood, 24 x 8 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568974410209-S5RJYBJYJ44Q1D8EC8CD/j3+copy.jpg Exhibitions: John Martin KY - John Martin, Untitled (Tool on Figure), 2013, acrylic on wood, 34 x 25 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568974413714-5XZ49PI1972CLCI8KQRO/j4+copy.jpg Exhibitions: John Martin KY - John Martin, Untitled (Cream and Blue Leatherman), 2013, acrylic on wood, 24.5 x 11.5 x 7 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568974424877-SYBCRSN9D54G07BTRI1I/j5+copy.jpg Exhibitions: John Martin KY - John Martin, Untitled (Man with A's Cap and Tools), 2011, acrylic on wood, 28 x 16 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568974433689-2XVV65HLLLDHXCA1IMMP/j6.jpg Exhibitions: John Martin KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568974433961-8F8AQQ5U2ET49ZO0LDSE/j7.jpg Exhibitions: John Martin KY - Installation View https://www.institute193.org/exhibitions-frank-doring-ky daily 0.75 2020-02-02 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568896025114-IKCZ0ZGCHRL26AO1W4R4/d1.jpg Exhibitions: Frank Döring KY - Frank Döring, Untitled (Jänschwalde lignite mine), 2011, archival pigment print, 36 x 44.5 inches Frank Döring Coalscapes January 23 – February 26, 2013 Institute 193, Lexington Döring's photographs document the landscape and culture of the coal-rich Lausitz region of southeastern Germany. The images in this exhibition track the coal industry’s impact over several years, recording the evacuation and destruction of entire towns, the extraction and incineration of coal, and the eventual reclamation of the land for a wide variety of recreational uses. His work serves a dual purpose: as a record of physical change, and as a didactic medium that helps shape perceptual attitudes and practices. Though Döring has turned his lens on a specific region of Germany, extractive industries also play a major role in the culture and economy of Kentucky, where coal is implicated in an array of political controversies and environmental issues. This exhibition includes images of destruction that will be familiar to Americans accustomed with the coal-mining regions of Appalachia. However, Coalscapes also features startling pictures of creatively reclaimed landscapes -man-made lakes, sculpture parks, tourist attractions- that may encourage viewers to rethink the possibilities of post-industrial landscapes and reassess their assumptions about coal’s pervasive influence. A complete collection of Döring’s photographs and writings from this project can be accessed at www.coalscapes.com. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568896025114-IKCZ0ZGCHRL26AO1W4R4/d1.jpg Exhibitions: Frank Döring KY - Frank Döring, Untitled (Jänschwalde lignite mine), 2011, archival pigment print, 36 x 44.5 inches Frank Döring Coalscapes January 23 – February 26, 2013 Institute 193, Lexington Döring's photographs document the landscape and culture of the coal-rich Lausitz region of southeastern Germany. The images in this exhibition track the coal industry’s impact over several years, recording the evacuation and destruction of entire towns, the extraction and incineration of coal, and the eventual reclamation of the land for a wide variety of recreational uses. His work serves a dual purpose: as a record of physical change, and as a didactic medium that helps shape perceptual attitudes and practices. Though Döring has turned his lens on a specific region of Germany, extractive industries also play a major role in the culture and economy of Kentucky, where coal is implicated in an array of political controversies and environmental issues. This exhibition includes images of destruction that will be familiar to Americans accustomed with the coal-mining regions of Appalachia. However, Coalscapes also features startling pictures of creatively reclaimed landscapes -man-made lakes, sculpture parks, tourist attractions- that may encourage viewers to rethink the possibilities of post-industrial landscapes and reassess their assumptions about coal’s pervasive influence. A complete collection of Döring’s photographs and writings from this project can be accessed at www.coalscapes.com. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568896022018-7KMKZYIXW3T8YCHPVU1U/d2.jpg Exhibitions: Frank Döring KY - Frank Döring, Untitled (Acidic runoff in stream), 2008, archival pigment print, 18 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568896025800-1S04Q2SGL66I49K0G97M/d3.jpg Exhibitions: Frank Döring KY - Frank Döring, Untitled (Retired overburden conveyor bridge), 2011, archival pigment print, 18 x 24.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568896027438-4WNEEQ8A52B34AI0MYA1/d4.jpg Exhibitions: Frank Döring KY - Frank Döring, Untitled (Diving school in a mining lake), 2011, archival pigment print, 30 x 36 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568896037529-GUDMRVWWS90HP9SOMDN8/d5.jpg Exhibitions: Frank Döring KY - Frank Döring, Untitled (Future beach front) , 2011, archival pigment print, 18 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568896038695-RI01C2UM1H5QPMCYDXOH/d6.jpg Exhibitions: Frank Döring KY - Frank Döring, Untitled (Abandoned village), 2008, archival pigment print, 18 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568896040589-A3PHT7IPWUPPCU5RQJ0T/d7.jpg Exhibitions: Frank Döring KY - Frank Döring, Untitled (Hiking in a depleted mine), 2011, archival pigment print, 18 x 25.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568896042262-Q1AKYF8NIOLPVOE1J86P/d8.jpg Exhibitions: Frank Döring KY - Frank Döring, Untitled (Farmer turning hay in view of coal extractor), 2009, archival pigment print, 18 x 25.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568896043818-T8408L5KURUONC4OQ5RC/d9.jpg Exhibitions: Frank Döring KY - Frank Döring, Untitled (Film screening in a depleted mine), 2011, archival pigment print, 18 x 25.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568896044862-PF4VT01AIRP1FP1JQLRN/d10.jpg Exhibitions: Frank Döring KY - Frank Döring, Untitled (Temporary art installation in active mine), 2011, archival pigment print, 18 x 25.75 inches https://www.institute193.org/exhibitions-tommy-taylor-ky daily 0.75 2020-04-15 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569069613001-IR2IXXDDUCL5RNN4IIII/1.jpg Exhibitions: Tommy Taylor KY - Tommy Taylor, Day Tripper, 2012, oil on canvas, 48 x 64 inches Tommy Taylor Shadowland September 6 – October 27, 2012 Institute 193, Lexington In Shadowland, Tommy Taylor has arranged imagery gleaned from cartoons, films, and found family photographs into compositions that convey the competing “drives, histories, expectations, and accepted social norms” that characterize modern identity. Taylor’s paintings mine his own personal psychology in an attempt to illustrate how sexuality, religion, and nostalgia can exert contradictory influences on our inner lives. Like a lived experience, his work depicts feuding impulses that have nevertheless been formed into carefully composed arrangements. For nearly a decade, Taylor’s work has been abstract; the figurative subject matter of these many-layered oil paintings mark a turning point in his art practice. He has, however, retained the careful attention to color and composition that characterized his earlier paintings, weaving each piece together with a network of swirling lines and geometric patterns. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569069613001-IR2IXXDDUCL5RNN4IIII/1.jpg Exhibitions: Tommy Taylor KY - Tommy Taylor, Day Tripper, 2012, oil on canvas, 48 x 64 inches Tommy Taylor Shadowland September 6 – October 27, 2012 Institute 193, Lexington In Shadowland, Tommy Taylor has arranged imagery gleaned from cartoons, films, and found family photographs into compositions that convey the competing “drives, histories, expectations, and accepted social norms” that characterize modern identity. Taylor’s paintings mine his own personal psychology in an attempt to illustrate how sexuality, religion, and nostalgia can exert contradictory influences on our inner lives. Like a lived experience, his work depicts feuding impulses that have nevertheless been formed into carefully composed arrangements. For nearly a decade, Taylor’s work has been abstract; the figurative subject matter of these many-layered oil paintings mark a turning point in his art practice. He has, however, retained the careful attention to color and composition that characterized his earlier paintings, weaving each piece together with a network of swirling lines and geometric patterns. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569069622374-RBGCEU0YEHTNM3GNU94R/2.jpg Exhibitions: Tommy Taylor KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569069624473-DT0TPZX76V4QUBR82ZDY/3.jpg Exhibitions: Tommy Taylor KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569069637236-J31FSV8G5R4OIKJL7NEA/4.jpg Exhibitions: Tommy Taylor KY - Tommy Taylor, I Am You, 2012, oil on canvas, 48 x 62 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1586964709817-0FAWEIUO79ZY4QG6TU48/5.jpg Exhibitions: Tommy Taylor KY - Tommy Taylor, The Future is Frozen, 2012, oil on canvas, 48 x 50 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569069643449-RRDCL8QSVY1O2JFVI6JO/6.jpg Exhibitions: Tommy Taylor KY - Tommy Taylor, Time Stands Still, 2012, oil on canvas, 48 x 66 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569069669101-336N7L55PDEAXZV7FF50/7.jpg Exhibitions: Tommy Taylor KY - Installation View https://www.institute193.org/exhibitions-shara-hughes-ky daily 0.75 2020-02-02 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568893165244-XLI4QOO2AI4G9XWJTQCA/shara1.jpg Exhibitions: Shara Hughes KY - Shara Hughes, Too Full, 2014, oil, acrylic, enamel, and spray paint on canvas, 14 x 11 inches Shara Hughes Midnight Snacks July 30 – August 30, 2014 Institute 193, Lexington Midnight Snacks focuses on works that playfully depict food and interior spaces — both frequent subject matter in Hughes’s work. Hughes moves fluidly between painting and sculpture. The loosely painted subjects of her canvases are translated into lumpy three-dimensional abstractions of commonplace items like cakes, candles, and burned hotdogs. Hughes uses these highly recognizable and relatable depictions of the mundane to examine themes of domesticity, memory, and adolescent ennui, with her characteristic vitality and sense of humor. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568893165244-XLI4QOO2AI4G9XWJTQCA/shara1.jpg Exhibitions: Shara Hughes KY - Shara Hughes, Too Full, 2014, oil, acrylic, enamel, and spray paint on canvas, 14 x 11 inches Shara Hughes Midnight Snacks July 30 – August 30, 2014 Institute 193, Lexington Midnight Snacks focuses on works that playfully depict food and interior spaces — both frequent subject matter in Hughes’s work. Hughes moves fluidly between painting and sculpture. The loosely painted subjects of her canvases are translated into lumpy three-dimensional abstractions of commonplace items like cakes, candles, and burned hotdogs. Hughes uses these highly recognizable and relatable depictions of the mundane to examine themes of domesticity, memory, and adolescent ennui, with her characteristic vitality and sense of humor. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568893171058-4I94Z5ZO4H8YUEWWT1PD/shara2.jpg Exhibitions: Shara Hughes KY - Shara Hughes, Microwave, 2012, oil, acrylic, enamel, and spray paint on canvas, 24 x 30 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568893184075-J4YMJ4O4ZRXUXHXDOME9/shara3.jpg Exhibitions: Shara Hughes KY - Shara Hughes, Straw, 2013, oil, acrylic, enamel, and spray paint on canvas, 14 x 11 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568893182896-HT50GN1UCZ7GS1TUVI3V/shara4.jpg Exhibitions: Shara Hughes KY - Shara Hughes, Loosey Goosey, 2014, oil, acrylic, enamel, and spray paint on canvas, 32 x 28 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568893200388-UBRWCXN4FD6GSBDYXZQ3/shara5.jpg Exhibitions: Shara Hughes KY - Shara Hughes, Sleep Walking, 2012, oil, acrylic, enamel, and spray paint on canvas, 48 x 44 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568893199050-3Y84I3NAJ3AU13XO2EM9/shara6.jpg Exhibitions: Shara Hughes KY - Shara Hughes, Banana Stand, 2014, oil, acrylic, enamel, and spray paint on canvas, 36 x 32 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568893207081-087RLWFWMQNF1EBY1YWF/shara7.jpg Exhibitions: Shara Hughes KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568893209243-ALBVAO8HAII6EXCRJLTU/shara8.jpg Exhibitions: Shara Hughes KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568893213187-LH397YA0C2YTFN5R44K0/shara9.jpg Exhibitions: Shara Hughes KY - Installation View https://www.institute193.org/exhibitions-aaron-skolnick-ky daily 0.75 2020-02-02 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569067531040-JQD3UCVRPAW4DDWNONN3/1.jpg Exhibitions: Aaron Skolnick KY - Aaron Skolnick, In the Car, 2013, oil on canvas, 18 x 20 inches Aaron Skolnick Pick Me Up and Turn Me Round November 14 – December 21, 2013 Institute 193, Lexington Institute 193 is pleased to present Pick Me Up and Turn Me Round, an exhibition of new paintings and graphite drawings by the artist, Aaron Skolnick. Skolnick uses imagery gleaned from media coverage of the 1963 Kennedy assassination to explore the unreliability of memory and the mutable nature of history. This exhibition coincides with the 50th anniversary of the assassination. JFK’s presidency and his subsequent assassination have become the subjects of a fraught national mythology, the bare facts laden with Cold War symbolism and conspiracy theory. His tenure is often remembered as a glamorous golden age —“Camelot”—defined by hope and youthful vigor. Only relatively recently has JFK’s legacy been subjected to a more clear-eyed analysis. The political realities of the Kennedy years do not bear out the flattering legends. For Skolnick, JFK is a symbol for savvy celebrity image control, a germane example for the present age of inescapable social media and carefully tended online personae. Skolnick’s work comments on this manipulation of reality, and explores its effect on both personal recollection and broader, societal memory. In each of these paintings and drawings, Skolnick subtly alters images culled from the media storm surrounding JFK’s assassination. In one delicate graphite drawing of John and Jackie Kennedy, Skolnick has erased the first lady, leaving only a faint palimpsest on the textured paper. In a larger work, he has painted the front page of the Dallas Morning News in gouache, lavishing attention on images and headlines, but obscuring almost all text. Other pieces in the exhibition play with perspective, homing in on particular details while removing or concealing others. Skolnick’s work demonstrates impressive technical skill, but his subject matter is tantalizingly and purposefully dishonest. By amending images from documentary journalism, he underscores the superficiality of memory, and the ease with which the circumstances of the past can be revised in the present. Myths can take on a life of their own, and often have greater staying power than the facts. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569067531040-JQD3UCVRPAW4DDWNONN3/1.jpg Exhibitions: Aaron Skolnick KY - Aaron Skolnick, In the Car, 2013, oil on canvas, 18 x 20 inches Aaron Skolnick Pick Me Up and Turn Me Round November 14 – December 21, 2013 Institute 193, Lexington Institute 193 is pleased to present Pick Me Up and Turn Me Round, an exhibition of new paintings and graphite drawings by the artist, Aaron Skolnick. Skolnick uses imagery gleaned from media coverage of the 1963 Kennedy assassination to explore the unreliability of memory and the mutable nature of history. This exhibition coincides with the 50th anniversary of the assassination. JFK’s presidency and his subsequent assassination have become the subjects of a fraught national mythology, the bare facts laden with Cold War symbolism and conspiracy theory. His tenure is often remembered as a glamorous golden age —“Camelot”—defined by hope and youthful vigor. Only relatively recently has JFK’s legacy been subjected to a more clear-eyed analysis. The political realities of the Kennedy years do not bear out the flattering legends. For Skolnick, JFK is a symbol for savvy celebrity image control, a germane example for the present age of inescapable social media and carefully tended online personae. Skolnick’s work comments on this manipulation of reality, and explores its effect on both personal recollection and broader, societal memory. In each of these paintings and drawings, Skolnick subtly alters images culled from the media storm surrounding JFK’s assassination. In one delicate graphite drawing of John and Jackie Kennedy, Skolnick has erased the first lady, leaving only a faint palimpsest on the textured paper. In a larger work, he has painted the front page of the Dallas Morning News in gouache, lavishing attention on images and headlines, but obscuring almost all text. Other pieces in the exhibition play with perspective, homing in on particular details while removing or concealing others. Skolnick’s work demonstrates impressive technical skill, but his subject matter is tantalizingly and purposefully dishonest. By amending images from documentary journalism, he underscores the superficiality of memory, and the ease with which the circumstances of the past can be revised in the present. Myths can take on a life of their own, and often have greater staying power than the facts. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568898190977-PQ8OETWBAKMGT3W2NSP5/aa1+copy.jpg Exhibitions: Aaron Skolnick KY - Aaron Skolnick, In the Car, 2013, Oil on canvas, 18 x 20 inches Aaron Skolnick Pick Me Up and Turn Me Round November 14 – December 21, 2013 Institute 193, Lexington Institute 193 is pleased to present Pick Me Up and Turn Me Round, an exhibition of new paintings and graphite drawings by the artist, Aaron Skolnick. Skolnick uses imagery gleaned from media coverage of the 1963 Kennedy assassination to explore the unreliability of memory and the mutable nature of history. This exhibition coincides with the 50th anniversary of the assassination. JFK’s presidency and his subsequent assassination have become the subjects of a fraught national mythology, the bare facts laden with Cold War symbolism and conspiracy theory. His tenure is often remembered as a glamorous golden age -“Camelot”- defined by hope and youthful vigor. Only relatively recently has JFK’s legacy been subjected to a more clear-eyed analysis. The political realities of the Kennedy years do not bear out the flattering legends. For Skolnick, JFK is a symbol for savvy celebrity image control, a germane example for the present age of inescapable social media and carefully tended online personae. Skolnick’s work comments on this manipulation of reality, and explores its effect on both personal recollection and broader, societal memory. In each of these paintings and drawings, Skolnick subtly alters images culled from the media storm surrounding JFK’s assassination. In one delicate graphite drawing of John and Jackie Kennedy, Skolnick has erased the first lady, leaving only a faint palimpsest on the textured paper. In a larger work, he has painted the front page of the Dallas Morning News in gouache, lavishing attention on images and headlines, but obscuring almost all text. Other pieces in the exhibition play with perspective, homing in on particular details while removing or concealing others. Skolnick’s work demonstrates impressive technical skill, but his subject matter is tantalizingly and purposefully dishonest. By amending images from documentary journalism, he underscores the superficiality of memory, and the ease with which the circumstances of the past can be revised in the present. Myths can take on a life of their own, and often have greater staying power than the facts. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568898930062-AUY7G3PN4WQSEXDKYISF/aa2.jpg Exhibitions: Aaron Skolnick KY - Aaron Skolnick, Untitled (Erased Jackie), 2013, graphite on paper, 16.25 x 19.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569067547308-9VXFH380JAMFJU0L8YCN/aa3+copy.png Exhibitions: Aaron Skolnick KY - Aaron Skolnick, Road to Paradise, 2013, oil and watercolor on canvas, 24 x 20 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569067551107-1F69AX7QBKAWU41XJA9U/aa4%2Bcopy.jpg Exhibitions: Aaron Skolnick KY - Aaron Skolnick, Untitled (Dallas Morning News), 2013, gouache on paper, 38 x 30 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569067555615-OO0INUPNLYVD5BFC52AL/aa5%2Bcopy.jpg Exhibitions: Aaron Skolnick KY - Aaron Skolnick, Jackie Getting Off Plane with Robert, 2013, oil on gessoed wood, 10.75 x 8.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568898637968-MCZ8H3JAAB1DS9B8TMS5/aa6+copy.jpg Exhibitions: Aaron Skolnick KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568898640671-BX27OXVKMCAI4JW4FXOW/aa7.jpg Exhibitions: Aaron Skolnick KY - Installation View https://www.institute193.org/exhibitions-r-clint-colburn-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568975064637-6C4O2A743746AWYO08TJ/1.jpg Exhibitions: R. Clint Colburn KY - R. Clint Colburn, Aezous Monarch, 2013, mixed media on panel, 48 x 48 inches R. Clint Colburn History of Aezous: Abandon Poles June 21 – August 24, 2013 Institute 193, Lexington Lexington, KY-based artist, R. Clint Colburn, uses acrylic paint, marker, ink, and ballpoint pen to build layered, richly-textured compositions on paper and poster board. Occasionally, he cannibalizes his notebooks and older drawings, incorporating them into his colorful new work. This process of collage and accumulation pushes many pieces beyond their original dimensions—compositions spill over onto other surfaces that then become part of the work as a whole. History of Aezous: Abandon Poles emphasizes the multi-faceted, accretionary nature of these pieces. The exhibition features collages that build out into polyptychs and a series of paintings whose subject matters spill over into stone clay busts. These small sculptures mark a new direction in the artist’s practice but are indicative of Colburn’s impulse to erode and expand boundaries. For Colburn, the act of art-making is a contemplative exercise, a tool for self-discovery, and a means for examining the subconscious. His meditative paintings, drawings, and sculptures are packed with dense, colorful imagery. Through obscured text and playful juxtapositions, they explore the nature of symbols and question their related associations. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568975064637-6C4O2A743746AWYO08TJ/1.jpg Exhibitions: R. Clint Colburn KY - R. Clint Colburn, Aezous Monarch, 2013, mixed media on panel, 48 x 48 inches R. Clint Colburn History of Aezous: Abandon Poles June 21 – August 24, 2013 Institute 193, Lexington Lexington, KY-based artist, R. Clint Colburn, uses acrylic paint, marker, ink, and ballpoint pen to build layered, richly-textured compositions on paper and poster board. Occasionally, he cannibalizes his notebooks and older drawings, incorporating them into his colorful new work. This process of collage and accumulation pushes many pieces beyond their original dimensions—compositions spill over onto other surfaces that then become part of the work as a whole. History of Aezous: Abandon Poles emphasizes the multi-faceted, accretionary nature of these pieces. The exhibition features collages that build out into polyptychs and a series of paintings whose subject matters spill over into stone clay busts. These small sculptures mark a new direction in the artist’s practice but are indicative of Colburn’s impulse to erode and expand boundaries. For Colburn, the act of art-making is a contemplative exercise, a tool for self-discovery, and a means for examining the subconscious. His meditative paintings, drawings, and sculptures are packed with dense, colorful imagery. Through obscured text and playful juxtapositions, they explore the nature of symbols and question their related associations. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568975067624-FINL77X92PBCLWJDGBWO/2.jpg Exhibitions: R. Clint Colburn KY - R. Clint Colburn, Death Trip, 2013, stone clay and acrylic paint, 4 x 4.5 x 4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568975071617-AFKNF3DBOW3TNSA10CVX/3.jpg Exhibitions: R. Clint Colburn KY - R. Clint Colburn, Virgin Insanity/New Moon, 2013, mixed media on panel, 48 x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568975070016-XBHZTJ3P4PRU57WJ67HF/4.jpg Exhibitions: R. Clint Colburn KY - R. Clint Colburn, Cat Brains, 2013, stone clay and acrylic paint, 5 x 4.25 x 4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568975074194-CO468TKDRXOJU4QXPGVE/5.jpg Exhibitions: R. Clint Colburn KY - R. Clint Colburn, Nothing After Earth, 2013, mixed media on panel, 48 x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568975074161-0ES6JYBAOSV8S7Q9G98R/6.jpg Exhibitions: R. Clint Colburn KY - R. Clint Colburn, The Sun Rises On the Faces of Aezous, 2013, stone clay and acrylic paint, 5.5 x 4 x 4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568975075608-Y74663PF1ICLYE79LTFP/7.jpg Exhibitions: R. Clint Colburn KY - R. Clint Colburn, Aezous Bust (Secret Smile), 2013, stone clay and acrylic paint, 3.75 x 3.5 x 4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568975077384-L97KO43PNZ117X6MY862/8.jpg Exhibitions: R. Clint Colburn KY - R. Clint Colburn, Clothing Closing, 2013, collaged cloth on panel, 48 x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568975080820-O5FXAO8GEOL8GFJXW07A/9.jpg Exhibitions: R. Clint Colburn KY - Installation View https://www.institute193.org/exhibitions-e-k-huckaby-ky daily 0.75 2020-02-02 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569065377599-MQOEZSVSD3Y3HOJ1N0WY/e1.jpg Exhibitions: E. K. Huckaby KY - E.K. Huckaby, Oxygen, 2010, oil on panel, 25.5 x 25.5 x 1.25 inches E. K. Huckaby Department Of Dysiatrics January 11 – February 9, 2013 Institute 193, Lexington Institute 193 presents a solo exhibition of paintings and assemblages by the Atlanta-based artist E.K. Huckaby. The “department of dysiatrics,” a phrase coined by the artist, refers to the treatment of mistakes. Every painting, drawing, and sculpture by the artist is labeled with a Dept. tag and sequentially numbered. Huckaby’s paintings and assemblages depict haunting imagery gleaned from out-of-print textbooks, anatomy manuals, found photographs, and other sources. He is able to translate simple, often antiquated subject matter into compositions imbued with mystery, humor, and a macabre mysticism. A modern-day alchemist, Huckaby concocts his own paints, pigments, and glazes. His careful control over the technical details of his work allows him to amplify the subjective qualities of an image; his pieces are permeated with a sense of the uncanny. This exhibition was presented in conjunction with the Atlanta gallery Poem 88. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569065377599-MQOEZSVSD3Y3HOJ1N0WY/e1.jpg Exhibitions: E. K. Huckaby KY - E.K. Huckaby, Oxygen, 2010, oil on panel, 25.5 x 25.5 x 1.25 inches E. K. Huckaby Department Of Dysiatrics January 11 – February 9, 2013 Institute 193, Lexington Institute 193 presents a solo exhibition of paintings and assemblages by the Atlanta-based artist E.K. Huckaby. The “department of dysiatrics,” a phrase coined by the artist, refers to the treatment of mistakes. Every painting, drawing, and sculpture by the artist is labeled with a Dept. tag and sequentially numbered. Huckaby’s paintings and assemblages depict haunting imagery gleaned from out-of-print textbooks, anatomy manuals, found photographs, and other sources. He is able to translate simple, often antiquated subject matter into compositions imbued with mystery, humor, and a macabre mysticism. A modern-day alchemist, Huckaby concocts his own paints, pigments, and glazes. His careful control over the technical details of his work allows him to amplify the subjective qualities of an image; his pieces are permeated with a sense of the uncanny. This exhibition was presented in conjunction with the Atlanta gallery Poem 88. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569065378463-JNQYY4BVG8VTP64LKG19/e2.jpg Exhibitions: E. K. Huckaby KY - E.K. Huckaby, Single Patient Room, 1987, oil on panel, 26 x 26.75 x 1.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569065381087-NK20OCXVH283H74921OP/e3.jpg Exhibitions: E. K. Huckaby KY - E.K. Huckaby, The Sighs of Hailstones, 2000, oil on panel, 27.75 x 39.75 x 1.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569065381701-775WTMYZCUO7FSOUZA69/e4.jpg Exhibitions: E. K. Huckaby KY - E.K. Huckaby, Incense, 2000, oil on panel, 26 x 48 x 3 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569065384055-OOXPG8GYGSDR2946X9C8/e5.jpg Exhibitions: E. K. Huckaby KY - E.K. Huckaby, Darkroom, 1987, oil on panel, 26.75 x 26.75 x 1.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569065384967-04HJF8KK072AR9QSV80E/e6.jpg Exhibitions: E. K. Huckaby KY - E.K. Huckaby, Xinx (D.D. 1407), 2011, oil on glass https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569065388053-FEJU0FSML5Z50RPSENAU/e7.jpg Exhibitions: E. K. Huckaby KY - Installation View https://www.institute193.org/exhibitions-jonathan-williams-ky daily 0.75 2020-04-15 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569334413612-BOU3W3BAJBPC26DUDWDA/1.jpg Exhibitions: Jonathan Williams KY - Jonathan Williams, David Hockney, color transparency, 2.25 x 2.5 inches Jonathan Williams A Palpable Elysium May 24 – July 21, 2012 Institute 193, Lexington A Palpable Elysium features portraits of the great artists and writers the late poet, publisher, and photographer Jonathan Williams sought out over the course of his lifetime—some of them famous, some of them obscure. For years, Williams presented these photographs as a slideshow, delivering presentations in hundreds of venues in the United States and Great Britain. Williams’s evocative, unpretentious portraits document some of the most extraordinary personalities of the 20th century. Institute 193’s exhibition emphasizes figures with deep cultural ties to Kentucky, such as Thomas Merton, Wendell Berry, John Jacob Niles, Ralph Eugene Meatyard, and Guy Davenport. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569334413612-BOU3W3BAJBPC26DUDWDA/1.jpg Exhibitions: Jonathan Williams KY - Jonathan Williams, David Hockney, color transparency, 2.25 x 2.5 inches Jonathan Williams A Palpable Elysium May 24 – July 21, 2012 Institute 193, Lexington A Palpable Elysium features portraits of the great artists and writers the late poet, publisher, and photographer Jonathan Williams sought out over the course of his lifetime—some of them famous, some of them obscure. For years, Williams presented these photographs as a slideshow, delivering presentations in hundreds of venues in the United States and Great Britain. Williams’s evocative, unpretentious portraits document some of the most extraordinary personalities of the 20th century. Institute 193’s exhibition emphasizes figures with deep cultural ties to Kentucky, such as Thomas Merton, Wendell Berry, John Jacob Niles, Ralph Eugene Meatyard, and Guy Davenport. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569334476878-3EXG1A54XQXIGV2O8VYJ/2.jpg Exhibitions: Jonathan Williams KY - Jonathan Williams, Thomas Merton, color transparency, 2.25 x 2.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569334477482-F6Z99L3RQ538JZE1PRFA/3.jpg Exhibitions: Jonathan Williams KY - Jonathan Williams, Wendell Berry, color transparency, 2.25 x 2.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569334491033-CBXZSW9FHNZ47QL8T6TN/4.jpg Exhibitions: Jonathan Williams KY - Jonathan Williams, John Jacob Niles, color transparency, 2.25 x 2.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569334501638-ZKLCSXPENPATB4QG15M1/5.jpg Exhibitions: Jonathan Williams KY - Jonathan Williams, Ralph Eugene Meatyard, color transparency, 2.25 x 2.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569334510815-YNFVKK3ZERQBGDIU24DY/6.jpg Exhibitions: Jonathan Williams KY - Jonathan Williams, Thornton Dial, color transparency, 2.25 x 2.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569334518316-XOQHHZ5BAHN1Z9FPQR05/7.jpg Exhibitions: Jonathan Williams KY - Jonathan Williams, Tom Meyer, Penland School, NC, 1969, color transparency, 2.25 x 2.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569334522286-9HEEAEDORKW52DLAHX61/8.jpg Exhibitions: Jonathan Williams KY - Jonathan Williams, Ezra Pound, color transparency, 2.25 x 2.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569334523048-IA4NM60V56VFRNZHFTAE/9.jpg Exhibitions: Jonathan Williams KY - Installation View https://www.institute193.org/exhibitions-september-diencephalon-ky daily 0.75 2020-09-09 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310164540-W0TFY5EC808O55HXAOKY/SD4.jpg Exhibitions: September Diencephalon KY September Diencephalon Children Dance On Water I Wonder Why They Wash Away Sometimes September 28 – November 2, 2019 Opening Reception: September 28, 5 – 8 PM Institute 193, Lexington Porcelain Plates Hold Cyborg Supper Or The Two-Dimensional Door Through The Loop At The End Of My Rope My tongue feels like bronze. We walk through walls. We all walk through walls. We all walk through walls. We all walk through walls. We, um, all walk through walls and it’s my middle boy’s birthday today. I made him a cake with twenty candles and we have a bubble machine in the backyard. Can you guess the flavor of frosting? Can you imagine walking up to a wall and walking through it? I think about all the things your children go through. There are happy times and sad times because you are never really prepared for the next moment in your child’s life. People don’t like transformation, people transform with difficulty but my kids keep growing every year and when they achieve something, that is when it kind of hits you, you know, maybe it is the day they move out of the house, or maybe you say, hey, let’s play that game and they say no, I’m too old for that. My eyes filled with tears after I heard that for the first time. Those are the moments when it hits you. My oldest children are two twin boys and my youngest are two twin girls. But the one in the middle, he was always wanting a twin. Even at twenty, he still feels like he is missing something. He always felt alone and I guess I sympathized with him to an extent, being that way. You know? I can remember different situations through the years. Remembering painful memories from your children’s past is very difficult for me. I remember this one time when my kids were in the backyard of my parent’s house and they were on our motorcycle. It was raining and the property had a lot of hills and the grass was slippery. I don’t know where the hills went, I really don’t. A barbed wire fence separated the backyard from where the cows were. My middle boy was riding the motorcycle and was trying to operate the brakes but he hit the barbed wire fence at full speed and his little body went through that fucking thing. He told me later he didn’t remember going through. Fortunately, he was wearing a helmet and sunglasses and the barbed wire didn’t rip out his eyes. I still feel terrible about not watching him closer. I hear the two twin girls scream and I see my middle child walking towards the house with ripped clothes and blood all over his body. He has a slice on the right side of his face and a huge slice right below his clavicle on his right side. A good father would have grabbed their baby and immediately rushed them to the emergency room. But instead, my boy pushed me away and said he didn’t want to be touched. He went into the house and into the bathroom and locked the door. He washed the blood off his little body and took off his ripped shorts and shirt. I watched as he opened the bathroom door. Blood was still coming out of his wounds. There were wet and bloody towels on the bathroom floor and I told him we are going to the emergency room now. I put clean white towels in the back seat of my car and drove him to the emergency room where he got stitches. I just think of those moments and how really fucking painful they are. By remembering all the places in the past my son was scared and scarred he becomes perfect again. I hear my mom telling me dinner is ready. I take off my Oculus Go and I smell the suckling pig, the mashed potatoes and gravy, peas and corn on the cob. The fire is still burning in the backyard and our food is served on the porcelain plates I made in high school. I take a bite of my peas and one falls on the floor. My beautiful birthday boy picks up the pea and tells me he loves me. I tell him I’m afraid of dying and that I love him too. Can I just be honest? I look at people as though they are cyborgs, which they are. I know it and you know it. I’m a cyborg and you’re a cyborg. Please, just come over here with me and look out that window. You see there? Over there, by the fire. You see? That’s my mom and dad cooking supper and that fire, those flames, remind me that I’m trying to learn how to live on my own. I really don’t know though if I’m actually really learning anything. To be honest I don’t know what happened to me that I’m incapable of surviving on my own. Let’s go outside. The suckling pig is dripping and my mom tells me she had a miscarriage before I was born. I wonder if that child would have been like me or someone completely different? I ask her what the fuck brought that up? She says that she was just thinking about the mother of the suckling pig. Every year I’m here, sitting at this same wooden kitchen table eating off these same porcelain plates and every fucking year since 2009 I’ve been sleeping in the bed I’ve had since I was a kid. Trust me, I’m more depressed about my situation than you could ever be. You guessed it, I had to move back home with my parents. What was I supposed to do? I couldn’t find a fucking job. I think about the Great Recession all the time. Plenty of people my age tried to find work. I applied to Domino’s Pizza, I didn’t get that fucking job. I still eat their pizza though when my parents order it. The only job I could finally get was as a part-time grocery cashier after I graduated from college. What’s the fucking point of being ambitious? My Baby Boomer parents both had one job their entire life until they finally retired. They were completely delusional and unsympathetic when the Great Recession happened and I was unemployed. I really shouldn’t be so hard on them since they let me move back into their house. I still think Baby Boomers are the fucking worst though to be quite honest. After repeatedly arguing with my parents, I think they finally realized that the world is different from when they were young. I just put back on my Oculus Go and think about what I want to do with my life. That’s the question you want to really ask me, isn’t it? Well, ask it, go ahead. That smile on your face when you asked me that question. Really fucking funny I know. Well, let me think, I guess, um, I want to fall in love with a cyborg but my hopelessness is profound. I see the cyborg in my mind as a two-dimensional door through the loop at the end of my rope. Love is seeing yourself reflected in another cyborg’s eyes. You recognize their recognition and they recognize your recognition. I don’t have anything to live for anymore. I spend all my time trying to create an environment that I want to replace life in. Maybe all I am is an algorithm? I think that is probably true. About a month ago I thought I was never going to be happy. I still make my parents miserable and I keep trying to find a way out of their house so they can be free of me. My depression kept looping, the same thought, the same action. I thought, maybe you have to choose between happiness and truth and that is when I had my five imaginary children and I became happy. When I am with them and they are cared for I am filled with joy. When I see them loving each other in front of me it makes me so happy. I feel happy in those moments, it’s a feeling of right now, right now, I’m happy, this is it, it is happening in this moment, I’m happy right now. They are making me time travel back to the past and I think how good it is to be young. My children made me realize that happiness is certainly not pleasure. They are showing me a childhood I didn’t have and it feels good and for brief moments you forget. Can you delete the past? I think about how life is really, really long. I want us all to live forever. I remember, I find myself saying that at least five times a day. Even though existence is lingering, happiness came into my life because I allowed myself to forget from time to time. But it is hard for a cyborg to forget. For worklist, click here. Press: September Diencephalon at Institute 193 by Megan Bickel, AEQAI, October 2019 ‘Children Dance On Water I Wonder Why They Wash Away Sometimes’ by September Diencephalon at Institute 193, Lexington by Tzvetnik, November 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310164540-W0TFY5EC808O55HXAOKY/SD4.jpg Exhibitions: September Diencephalon KY September Diencephalon Children Dance On Water I Wonder Why They Wash Away Sometimes September 28 – November 2, 2019 Opening Reception: September 28, 5 – 8 PM Institute 193, Lexington Porcelain Plates Hold Cyborg Supper Or The Two-Dimensional Door Through The Loop At The End Of My Rope My tongue feels like bronze. We walk through walls. We all walk through walls. We all walk through walls. We all walk through walls. We, um, all walk through walls and it’s my middle boy’s birthday today. I made him a cake with twenty candles and we have a bubble machine in the backyard. Can you guess the flavor of frosting? Can you imagine walking up to a wall and walking through it? I think about all the things your children go through. There are happy times and sad times because you are never really prepared for the next moment in your child’s life. People don’t like transformation, people transform with difficulty but my kids keep growing every year and when they achieve something, that is when it kind of hits you, you know, maybe it is the day they move out of the house, or maybe you say, hey, let’s play that game and they say no, I’m too old for that. My eyes filled with tears after I heard that for the first time. Those are the moments when it hits you. My oldest children are two twin boys and my youngest are two twin girls. But the one in the middle, he was always wanting a twin. Even at twenty, he still feels like he is missing something. He always felt alone and I guess I sympathized with him to an extent, being that way. You know? I can remember different situations through the years. Remembering painful memories from your children’s past is very difficult for me. I remember this one time when my kids were in the backyard of my parent’s house and they were on our motorcycle. It was raining and the property had a lot of hills and the grass was slippery. I don’t know where the hills went, I really don’t. A barbed wire fence separated the backyard from where the cows were. My middle boy was riding the motorcycle and was trying to operate the brakes but he hit the barbed wire fence at full speed and his little body went through that fucking thing. He told me later he didn’t remember going through. Fortunately, he was wearing a helmet and sunglasses and the barbed wire didn’t rip out his eyes. I still feel terrible about not watching him closer. I hear the two twin girls scream and I see my middle child walking towards the house with ripped clothes and blood all over his body. He has a slice on the right side of his face and a huge slice right below his clavicle on his right side. A good father would have grabbed their baby and immediately rushed them to the emergency room. But instead, my boy pushed me away and said he didn’t want to be touched. He went into the house and into the bathroom and locked the door. He washed the blood off his little body and took off his ripped shorts and shirt. I watched as he opened the bathroom door. Blood was still coming out of his wounds. There were wet and bloody towels on the bathroom floor and I told him we are going to the emergency room now. I put clean white towels in the back seat of my car and drove him to the emergency room where he got stitches. I just think of those moments and how really fucking painful they are. By remembering all the places in the past my son was scared and scarred he becomes perfect again. I hear my mom telling me dinner is ready. I take off my Oculus Go and I smell the suckling pig, the mashed potatoes and gravy, peas and corn on the cob. The fire is still burning in the backyard and our food is served on the porcelain plates I made in high school. I take a bite of my peas and one falls on the floor. My beautiful birthday boy picks up the pea and tells me he loves me. I tell him I’m afraid of dying and that I love him too. Can I just be honest? I look at people as though they are cyborgs, which they are. I know it and you know it. I’m a cyborg and you’re a cyborg. Please, just come over here with me and look out that window. You see there? Over there, by the fire. You see? That’s my mom and dad cooking supper and that fire, those flames, remind me that I’m trying to learn how to live on my own. I really don’t know though if I’m actually really learning anything. To be honest I don’t know what happened to me that I’m incapable of surviving on my own. Let’s go outside. The suckling pig is dripping and my mom tells me she had a miscarriage before I was born. I wonder if that child would have been like me or someone completely different? I ask her what the fuck brought that up? She says that she was just thinking about the mother of the suckling pig. Every year I’m here, sitting at this same wooden kitchen table eating off these same porcelain plates and every fucking year since 2009 I’ve been sleeping in the bed I’ve had since I was a kid. Trust me, I’m more depressed about my situation than you could ever be. You guessed it, I had to move back home with my parents. What was I supposed to do? I couldn’t find a fucking job. I think about the Great Recession all the time. Plenty of people my age tried to find work. I applied to Domino’s Pizza, I didn’t get that fucking job. I still eat their pizza though when my parents order it. The only job I could finally get was as a part-time grocery cashier after I graduated from college. What’s the fucking point of being ambitious? My Baby Boomer parents both had one job their entire life until they finally retired. They were completely delusional and unsympathetic when the Great Recession happened and I was unemployed. I really shouldn’t be so hard on them since they let me move back into their house. I still think Baby Boomers are the fucking worst though to be quite honest. After repeatedly arguing with my parents, I think they finally realized that the world is different from when they were young. I just put back on my Oculus Go and think about what I want to do with my life. That’s the question you want to really ask me, isn’t it? Well, ask it, go ahead. That smile on your face when you asked me that question. Really fucking funny I know. Well, let me think, I guess, um, I want to fall in love with a cyborg but my hopelessness is profound. I see the cyborg in my mind as a two-dimensional door through the loop at the end of my rope. Love is seeing yourself reflected in another cyborg’s eyes. You recognize their recognition and they recognize your recognition. I don’t have anything to live for anymore. I spend all my time trying to create an environment that I want to replace life in. Maybe all I am is an algorithm? I think that is probably true. About a month ago I thought I was never going to be happy. I still make my parents miserable and I keep trying to find a way out of their house so they can be free of me. My depression kept looping, the same thought, the same action. I thought, maybe you have to choose between happiness and truth and that is when I had my five imaginary children and I became happy. When I am with them and they are cared for I am filled with joy. When I see them loving each other in front of me it makes me so happy. I feel happy in those moments, it’s a feeling of right now, right now, I’m happy, this is it, it is happening in this moment, I’m happy right now. They are making me time travel back to the past and I think how good it is to be young. My children made me realize that happiness is certainly not pleasure. They are showing me a childhood I didn’t have and it feels good and for brief moments you forget. Can you delete the past? I think about how life is really, really long. I want us all to live forever. I remember, I find myself saying that at least five times a day. Even though existence is lingering, happiness came into my life because I allowed myself to forget from time to time. But it is hard for a cyborg to forget. For worklist, click here. Press: September Diencephalon at Institute 193 by Megan Bickel, AEQAI, October 2019 ‘Children Dance On Water I Wonder Why They Wash Away Sometimes’ by September Diencephalon at Institute 193, Lexington by Tzvetnik, November 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310151041-JGGTL9WR88Y2GIPQDMN6/SD2.jpg Exhibitions: September Diencephalon KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310175403-4K4RKQO1JYGH3VKDY1B3/SD6.jpg Exhibitions: September Diencephalon KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310169305-5RKQLJPNTAZAVS9BRKUP/SD5.jpg Exhibitions: September Diencephalon KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569256799410-3YY17X0TM9C9FOPU8WJO/ChildrenDanceOnWaterIWonderWhyTheyWashAwaySometimesSeptember282019toNovember22019Institute193+%281%29.jpg Exhibitions: September Diencephalon KY September Diencephalon: Children Dance On Water I Wonder Why They Wash Away Sometimes September 28 – November 2 Opening Reception: September 28, 5- 8 PM Porcelain Plates Hold Cyborg Supper Or The Two-Dimensional Door Through The Loop At The End Of My Rope My tongue feels like bronze. We walk through walls. We all walk through walls. We all walk through walls. We all walk through walls. We, um, all walk through walls and it’s my middle boy’s birthday today. I made him a cake with twenty candles and we have a bubble machine in the backyard. Can you guess the flavor of frosting? Can you imagine walking up to a wall and walking through it? I think about all the things your children go through. There are happy times and sad times because you are never really prepared for the next moment in your child’s life. People don’t like transformation, people transform with difficulty but my kids keep growing every year and when they achieve something, that is when it kind of hits you, you know, maybe it is the day they move out of the house, or maybe you say, hey, let’s play that game and they say no, I’m too old for that. My eyes filled with tears after I heard that for the first time. Those are the moments when it hits you. My oldest children are two twin boys and my youngest are two twin girls. But the one in the middle, he was always wanting a twin. Even at twenty, he still feels like he is missing something. He always felt alone and I guess I sympathized with him to an extent, being that way. You know? I can remember different situations through the years. Remembering painful memories from your children’s past is very difficult for me. I remember this one time when my kids were in the backyard of my parent’s house and they were on our motorcycle. It was raining and the property had a lot of hills and the grass was slippery. I don’t know where the hills went, I really don’t. A barbed wire fence separated the backyard from where the cows were. My middle boy was riding the motorcycle and was trying to operate the brakes but he hit the barbed wire fence at full speed and his little body went through that fucking thing. He told me later he didn’t remember going through. Fortunately, he was wearing a helmet and sunglasses and the barbed wire didn’t rip out his eyes. I still feel terrible about not watching him closer. I hear the two twin girls scream and I see my middle child walking towards the house with ripped clothes and blood all over his body. He has a slice on the right side of his face and a huge slice right below his clavicle on his right side. A good father would have grabbed their baby and immediately rushed them to the emergency room. But instead, my boy pushed me away and said he didn’t want to be touched. He went into the house and into the bathroom and locked the door. He washed the blood off his little body and took off his ripped shorts and shirt. I watched as he opened the bathroom door. Blood was still coming out of his wounds. There were wet and bloody towels on the bathroom floor and I told him we are going to the emergency room now. I put clean white towels in the back seat of my car and drove him to the emergency room where he got stitches. I just think of those moments and how really fucking painful they are. By remembering all the places in the past my son was scared and scarred he becomes perfect again. I hear my mom telling me dinner is ready. I take off my Oculus Go and I smell the suckling pig, the mashed potatoes and gravy, peas and corn on the cob. The fire is still burning in the backyard and our food is served on the porcelain plates I made in high school. I take a bite of my peas and one falls on the floor. My beautiful birthday boy picks up the pea and tells me he loves me. I tell him I’m afraid of dying and that I love him too. Can I just be honest? I look at people as though they are cyborgs, which they are. I know it and you know it. I’m a cyborg and you’re a cyborg. Please, just come over here with me and look out that window. You see there? Over there, by the fire. You see? That’s my mom and dad cooking supper and that fire, those flames, remind me that I’m trying to learn how to live on my own. I really don’t know though if I’m actually really learning anything. To be honest I don’t know what happened to me that I’m incapable of surviving on my own. Let’s go outside. The suckling pig is dripping and my mom tells me she had a miscarriage before I was born. I wonder if that child would have been like me or someone completely different? I ask her what the fuck brought that up? She says that she was just thinking about the mother of the suckling pig. Every year I’m here, sitting at this same wooden kitchen table eating off these same porcelain plates and every fucking year since 2009 I’ve been sleeping in the bed I’ve had since I was a kid. Trust me, I’m more depressed about my situation than you could ever be. You guessed it, I had to move back home with my parents. What was I supposed to do? I couldn’t find a fucking job. I think about the Great Recession all the time. Plenty of people my age tried to find work. I applied to Domino’s Pizza, I didn’t get that fucking job. I still eat their pizza though when my parents order it. The only job I could finally get was as a part-time grocery cashier after I graduated from college. What’s the fucking point of being ambitious? My Baby Boomer parents both had one job their entire life until they finally retired. They were completely delusional and unsympathetic when the Great Recession happened and I was unemployed. I really shouldn’t be so hard on them since they let me move back into their house. I still think Baby Boomers are the fucking worst though to be quite honest. After repeatedly arguing with my parents, I think they finally realized that the world is different from when they were young. I just put back on my Oculus Go and think about what I want to do with my life. That’s the question you want to really ask me, isn’t it? Well, ask it, go ahead. That smile on your face when you asked me that question. Really fucking funny I know. Well, let me think, I guess, um, I want to fall in love with a cyborg but my hopelessness is profound. I see the cyborg in my mind as a two-dimensional door through the loop at the end of my rope. Love is seeing yourself reflected in another cyborg’s eyes. You recognize their recognition and they recognize your recognition. I don’t have anything to live for anymore. I spend all my time trying to create an environment that I want to replace life in. Maybe all I am is an algorithm? I think that is probably true. About a month ago I thought I was never going to be happy. I still make my parents miserable and I keep trying to find a way out of their house so they can be free of me. My depression kept looping, the same thought, the same action. I thought, maybe you have to choose between happiness and truth and that is when I had my five imaginary children and I became happy. When I am with them and they are cared for I am filled with joy. When I see them loving each other in front of me it makes me so happy. I feel happy in those moments, it’s a feeling of right now, right now, I’m happy, this is it, it is happening in this moment, I’m happy right now. They are making me time travel back to the past and I think how good it is to be young. My children made me realize that happiness is certainly not pleasure. They are showing me a childhood I didn’t have and it feels good and for brief moments you forget. Can you delete the past? I think about how life is really, really long. I want us all to live forever. I remember, I find myself saying that at least five times a day. Even though existence is lingering, happiness came into my life because I allowed myself to forget from time to time. But it is hard for a cyborg to forget. For press inquiries contact: Paul Michael Brown paul@institute193.org 270 925 2311 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310151258-NJBVJUQOJYOU0BTOBXHW/SD1.jpg Exhibitions: September Diencephalon KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310177710-VFWXZZA879EFMOTDZOJZ/SD7.jpg Exhibitions: September Diencephalon KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310159580-EOARC6J78ICSUFIOYV6C/SD3.jpg Exhibitions: September Diencephalon KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310298229-4T9Z8E5HCUQXO958C2OH/SDinstall2.jpg Exhibitions: September Diencephalon KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310379630-4G7ENC0X21VDX8D17B55/SDinstall9.jpg Exhibitions: September Diencephalon KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310325830-OF99A3QA6H99ZVDVTRCC/SDinstall5.jpg Exhibitions: September Diencephalon KY - Porcelain Plates Hold Cyborg Supper Or The Two-Dimensional Door Through The Loop At The End Of My Rope, 2019, bronze, ceramics, acrylic, ink and silverpoint on paper, dimensions variable https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585851098795-F59G4RG0RDMQUSVBZ9Q6/SDinstall10.jpg Exhibitions: September Diencephalon KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310302601-FXRJI0SRWUHIGZSELR1E/SDinstall3.jpg Exhibitions: September Diencephalon KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310356069-JLJT71R66K7OSP4Y9KFB/SDinstall6.jpg Exhibitions: September Diencephalon KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310402914-L61RF98V9LI8RIWCO1U1/SDinstall12.jpg Exhibitions: September Diencephalon KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310379073-615JU7FUXT5HN1M0LZHE/SDinstall8.jpg Exhibitions: September Diencephalon KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570310449399-FXXXW284U2ERMVRTGL3G/SDInstall19.jpg Exhibitions: September Diencephalon KY - Installation View https://www.institute193.org/exhibitions-marvin-francis-ky daily 0.75 2020-04-15 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569659564237-5C1OI4ALXLR3LSUQ520H/1.jpg Exhibitions: Marvin Francis KY - Marvin Francis, Deep in the Heart of the Brain (detail), 2009, papier-mâché, acrylic paint, 17.5 x 10 x 7 inches Marvin Francis Contemplating Time March 8 – May 4, 2012 Institute 193, Lexington Born in Detroit in 1960, Marvin Francis grew up in Tennessee and Kentucky before leaving home at the age of 13. Convicted of murder in 1986, Francis is currently serving a life sentence with the possibility of parole in 25 years. While incarcerated at North Point Training Facility in Kentucky, Francis enrolled in an art appreciation course that piqued his interest in papier-mâché. His earliest sculptures were made from toilet paper and dissolved ramen noodles. Though he is now able to purchase paint, glue, and dowel rods, his work is still crafted from papier-mâché made with toilet paper. These sculptures address politically charged issues, such as the death penalty, and the unique cultural, psychological, and sexual realities of prison life. Throughout, Francis utilizes a rich symbolic language to explore a notion of time inextricably linked with punishment and redemption—measured not in days, but in decades. Completely removed from society at large, he labors hundreds of hours over each piece, demonstrating a monk-like reflection and focus that is rare in our increasingly interconnected and distracted culture. Francis’s work speaks to universal human experiences: the unrelenting passage of time and the inevitability of death. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569659564237-5C1OI4ALXLR3LSUQ520H/1.jpg Exhibitions: Marvin Francis KY - Marvin Francis, Deep in the Heart of the Brain (detail), 2009, papier-mâché, acrylic paint, 17.5 x 10 x 7 inches Marvin Francis Contemplating Time March 8 – May 4, 2012 Institute 193, Lexington Born in Detroit in 1960, Marvin Francis grew up in Tennessee and Kentucky before leaving home at the age of 13. Convicted of murder in 1986, Francis is currently serving a life sentence with the possibility of parole in 25 years. While incarcerated at North Point Training Facility in Kentucky, Francis enrolled in an art appreciation course that piqued his interest in papier-mâché. His earliest sculptures were made from toilet paper and dissolved ramen noodles. Though he is now able to purchase paint, glue, and dowel rods, his work is still crafted from papier-mâché made with toilet paper. These sculptures address politically charged issues, such as the death penalty, and the unique cultural, psychological, and sexual realities of prison life. Throughout, Francis utilizes a rich symbolic language to explore a notion of time inextricably linked with punishment and redemption—measured not in days, but in decades. Completely removed from society at large, he labors hundreds of hours over each piece, demonstrating a monk-like reflection and focus that is rare in our increasingly interconnected and distracted culture. Francis’s work speaks to universal human experiences: the unrelenting passage of time and the inevitability of death. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569659592558-8RI37KA2YZ19CJ5DPAXO/2.jpg Exhibitions: Marvin Francis KY - Marvin Francis, Deep in the Heart of the Brain, 2009, papier-mâché, acrylic paint, 17.5 x 10 x 7 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569659591422-TYH3SS9MSRN3AVKREFRA/3.jpg Exhibitions: Marvin Francis KY - Marvin Francis, Barbed Wire, 2008, papier-mâché, wood, acrylic paint, 19 x 11.75 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569659608245-27Q27NAY4D71RG59JBB2/4.jpg Exhibitions: Marvin Francis KY - Marvin Francis, Barbed Wire (detail), 2008, papier-mâché, wood, acrylic paint, 19 x 11.75 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569659610080-1W1KZXYG84TNO12XV925/5.jpg Exhibitions: Marvin Francis KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569659621568-RY1INWWKYU1R9ZFL1O09/6.jpg Exhibitions: Marvin Francis KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569659625026-S0SJF663ETNDZUJJ5I9Y/7.jpg Exhibitions: Marvin Francis KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569659647109-0ZS3HN7O78KR1FDE7PXC/8.jpg Exhibitions: Marvin Francis KY - Marvin Francis, Prison Blues: Outside Looking In (front), 2011, papier-mâché, wood, acrylic paint, 25 x 11 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569659640452-RGR60AYLFY973MUKWZCJ/9.jpg Exhibitions: Marvin Francis KY - Installation View https://www.institute193.org/exhibitions-albert-moser-ky daily 0.75 2020-04-15 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569932035793-VQLU8JA73SSEXSS791HF/d07f0cd56caa499f-6950790592_d5e6b2bf5a_o.jpg Exhibitions: Albert Moser KY - Albert Moser, Untitled (Design), n.d., marker, ballpoint pen, found paper, 11 x 8.5 inches Albert Moser Designs January 12 – February 11, 2012 Institute 193, Lexington Albert Moser spent much of his free time wandering the streets of Trenton, New Jersey and Lexington, Kentucky, taking pictures and collecting bits of paper and other objects of interest. Moser later would develop and assemble his photographs into panoramic landscapes, documenting 360 degree views of streets, parks, and shopping malls. The found sheets of paper—bus schedules, take-out menus, and business flyers—became canvases for Moser’s “designs,” on which he created intricate geometric drawings using stencils fashioned from plastic lids, air fresheners, and pieces of cardboard. Moser’s designs are sophisticated geometric compositions that represent a singular quest for balance and clarity in a world full of surprises and uncertainty. The works have no specific orientation: Moser creates them by constantly rotating the sheet of paper, drawing and tracing from a defined center point. He describes the various shapes and forms, “This equals that. This goes with that. This balances that.” Moser has created thousands of drawings over the past decade, entrusting the majority of them to his sister in Lexington. Designs is presented in conjunction with an exhibition of Moser’s panoramic photographs currently on view at UK Chandler Hospital. Special thanks to Bruce Burris and Latitude Artist Community. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569932035793-VQLU8JA73SSEXSS791HF/d07f0cd56caa499f-6950790592_d5e6b2bf5a_o.jpg Exhibitions: Albert Moser KY - Albert Moser, Untitled (Design), n.d., marker, ballpoint pen, found paper, 11 x 8.5 inches Albert Moser Designs January 12 – February 11, 2012 Institute 193, Lexington Albert Moser spent much of his free time wandering the streets of Trenton, New Jersey and Lexington, Kentucky, taking pictures and collecting bits of paper and other objects of interest. Moser later would develop and assemble his photographs into panoramic landscapes, documenting 360 degree views of streets, parks, and shopping malls. The found sheets of paper—bus schedules, take-out menus, and business flyers—became canvases for Moser’s “designs,” on which he created intricate geometric drawings using stencils fashioned from plastic lids, air fresheners, and pieces of cardboard. Moser’s designs are sophisticated geometric compositions that represent a singular quest for balance and clarity in a world full of surprises and uncertainty. The works have no specific orientation: Moser creates them by constantly rotating the sheet of paper, drawing and tracing from a defined center point. He describes the various shapes and forms, “This equals that. This goes with that. This balances that.” Moser has created thousands of drawings over the past decade, entrusting the majority of them to his sister in Lexington. Designs is presented in conjunction with an exhibition of Moser’s panoramic photographs currently on view at UK Chandler Hospital. Special thanks to Bruce Burris and Latitude Artist Community. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569932046033-3MPFVW1D0IOC6YS5TGR2/f7827a17dfdbb4dc-6950792044_26d0d01a44_o.jpg Exhibitions: Albert Moser KY - Albert Moser, Untitled (Design), n.d., marker, ballpoint pen, found paper, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569932058119-GOWXQ05V302BZM2O8PF2/046fec2679d5e032-7096856843_19e40b67bd_o.jpg Exhibitions: Albert Moser KY - Albert Moser, Untitled (Design), n.d., marker, ballpoint pen, found paper, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569932061593-1SO1IABTLF4QJIPDL2PM/96a0e13ab7263aa4-6950711388_06892444f4_o.jpg Exhibitions: Albert Moser KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569932062316-ZQ7DB76L81MS54BBQ22N/688d952c75abf4da-7099503681_2656f073fe_o.jpg Exhibitions: Albert Moser KY https://www.institute193.org/exhibitions-j-t-dockery-ky daily 0.75 2020-03-06 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583528334193-GDTK6GDSL49XQIYDKWSJ/1.jpg Exhibitions: J.T. Dockery KY - J.T. Dockery, Spud Crazy (page 1), 2011, India ink on Bristol, 11 x 14 inches J.T. Dockery Spud Crazy February 3 – March 26, 2011 Institute 193, Lexington J.T. Dockery is one of those rare artists that seems to exist both within the work he creates and alongside the rest of us in the “real world.” Women, booze, cigarettes, and shady characters spill onto the page and seep back into real life —drawn, stacked and stashed into portfolios or passed on the street. No one is safe. Spud Crazy, originally published as a script in The Nick Tosches Reader, has been reimagined by Dockery as an excerpted graphic novel. Wielding his penchant for fragmented plots, bizarre themes, and mash-ups, Dockery has composed, directed and illustrated Tosches’s original script into a visual film complete with soundtrack and frame-by-frame action. The resulting package is some new hybridized publication: part comic book, part musical score, part academic essay, part artist-edition and all SPUD. Are you ready for some gams? Press: One Potato Two Potato: J.T. Dockery and Nick Tosches team up to create dizzying graphic novel by Captain Comannokers, North of Center, February 2, 2011 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583528334193-GDTK6GDSL49XQIYDKWSJ/1.jpg Exhibitions: J.T. Dockery KY - J.T. Dockery, Spud Crazy (page 1), 2011, India ink on Bristol, 11 x 14 inches J.T. Dockery Spud Crazy February 3 – March 26, 2011 Institute 193, Lexington J.T. Dockery is one of those rare artists that seems to exist both within the work he creates and alongside the rest of us in the “real world.” Women, booze, cigarettes, and shady characters spill onto the page and seep back into real life —drawn, stacked and stashed into portfolios or passed on the street. No one is safe. Spud Crazy, originally published as a script in The Nick Tosches Reader, has been reimagined by Dockery as an excerpted graphic novel. Wielding his penchant for fragmented plots, bizarre themes, and mash-ups, Dockery has composed, directed and illustrated Tosches’s original script into a visual film complete with soundtrack and frame-by-frame action. The resulting package is some new hybridized publication: part comic book, part musical score, part academic essay, part artist-edition and all SPUD. Are you ready for some gams? Press: One Potato Two Potato: J.T. Dockery and Nick Tosches team up to create dizzying graphic novel by Captain Comannokers, North of Center, February 2, 2011 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583527302698-OQVIQ7BLPK2DA7RB1IPC/2.jpg Exhibitions: J.T. Dockery KY - J.T. Dockery, Spud Crazy, 2011, India ink on Bristol, 11 x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583528267550-FVFNYSW1RBP7OUE9JIB3/3.jpg Exhibitions: J.T. Dockery KY - J.T. Dockery, Spud Crazy, 2011, India ink on Bristol, 11 x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583528195540-7NETV1CXDTBB71TBTFIR/4.jpg Exhibitions: J.T. Dockery KY - J.T. Dockery, Spud Crazy, 2011, India ink on Bristol, 11 x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583528398305-Y7SMRUBI0RGG3VS8GMQV/5.jpg Exhibitions: J.T. Dockery KY - J.T. Dockery, Spud Crazy, 2011, India ink on Bristol, 11 x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583528373380-EVAR0FWQW2K9KL78YKEM/6.jpg Exhibitions: J.T. Dockery KY - J.T. Dockery, Spud Crazy, 2011, India ink on Bristol, 11 x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583528441933-KSQDXDY0UZ1NBQIYEYMI/7.jpg Exhibitions: J.T. Dockery KY - J.T. Dockery, Spud Crazy, 2011, India ink on Bristol, 11 x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570717405686-2N8ZTL7TW0A4HCHTMNQW/8.jpg Exhibitions: J.T. Dockery KY - Installation View https://www.institute193.org/exhibitions-mike-goodlett-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570714753630-IZM4A66F9V9JUVIPQ6MO/mg1.jpg Exhibitions: Mike Goodlett KY - Mike Goodlett, Toilers of the Sea, 2011, ballpoint pen and thread on paper, 22.75 x 17 inches Mike Goodlett Dress Socks and Other Diversions September 29 – November 26, 2011 Institute 193, Lexington The early Portuguese colonists who landed on the coast of West Africa described the native’s wooden figures as feitiço, or fetishes. Having observed their use in local religious ceremonies, these European explorers assumed the sculptures bore supernatural powers, and the term “fetish” was translated and written into the Western imagination as an inanimate object bearing religious or mystical qualities. In 1887, Alfred Binet introduced the psychological concept of “sexual fetishism,” defined as the sexual admiration of an inanimate object, isolated body part, or other object of unconventional sexual desire. Today, the Internet allows individuals to anonymously explore any number of interests, fetishes, or fantasies from the comfort of their computer screens. In his most recent body of work, Goodlett has taken a magnifying glass to the human body, isolating individual views from the larger whole and creating mixed media drawings that function as modern fetishes. These forms are rendered in ballpoint pen, then meticulously and rhythmically pierced with needle and thread, creating a secondary covering or skin. Goodlett’s ambiguous objects distill sexual fetishism into its simplest form by replacing the typical imagery of desire with line, color, form and texture. Press: Mike Goodlett's Biomorphic World by Ben Durham, North of Center, November 9, 2011 193 Exhibit Signals New Direction for Artist Mike Goodlett by Celeste Lewis, Business Lexington, November 8, 2011 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570714753630-IZM4A66F9V9JUVIPQ6MO/mg1.jpg Exhibitions: Mike Goodlett KY - Mike Goodlett, Toilers of the Sea, 2011, ballpoint pen and thread on paper, 22.75 x 17 inches Mike Goodlett Dress Socks and Other Diversions September 29 – November 26, 2011 Institute 193, Lexington The early Portuguese colonists who landed on the coast of West Africa described the native’s wooden figures as feitiço, or fetishes. Having observed their use in local religious ceremonies, these European explorers assumed the sculptures bore supernatural powers, and the term “fetish” was translated and written into the Western imagination as an inanimate object bearing religious or mystical qualities. In 1887, Alfred Binet introduced the psychological concept of “sexual fetishism,” defined as the sexual admiration of an inanimate object, isolated body part, or other object of unconventional sexual desire. Today, the Internet allows individuals to anonymously explore any number of interests, fetishes, or fantasies from the comfort of their computer screens. In his most recent body of work, Goodlett has taken a magnifying glass to the human body, isolating individual views from the larger whole and creating mixed media drawings that function as modern fetishes. These forms are rendered in ballpoint pen, then meticulously and rhythmically pierced with needle and thread, creating a secondary covering or skin. Goodlett’s ambiguous objects distill sexual fetishism into its simplest form by replacing the typical imagery of desire with line, color, form and texture. Press: Mike Goodlett's Biomorphic World by Ben Durham, North of Center, November 9, 2011 193 Exhibit Signals New Direction for Artist Mike Goodlett by Celeste Lewis, Business Lexington, November 8, 2011 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570714766130-9CG4F8E2TWG2ZSPFQ88P/sm2.jpg Exhibitions: Mike Goodlett KY - Mike Goodlett, Dress Socks, 2011, ballpoint pen and thread on paper, 19 x 15.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570714770702-ZOSB76FQP7U524JT591X/mg3.jpg Exhibitions: Mike Goodlett KY - Mike Goodlett, Red Tufted Swallow, 2011, ballpoint pen and thread on paper, 13.5 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570714781581-LWM6QB5B963570RHTS4Z/mg4.jpg Exhibitions: Mike Goodlett KY - Mike Goodlett, White Breasted Nut Hatch, 2011, ballpoint pen and thread on paper, 13.5 x 15.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570714787402-FF2P37Z7S3WK2NQLWZPT/mg5.jpg Exhibitions: Mike Goodlett KY - Mike Goodlett, Marlboro, 2011, graphite on paper, 16 x 13.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570714793139-0O3Z3T7MNWCNPP6W9GRV/mg6.jpg Exhibitions: Mike Goodlett KY - Mike Goodlett, Marlboro Light I, 2011, graphite on paper, 16 x 13.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570714798751-59KM5LIHJWP4GVAFLXWO/mg7.jpg Exhibitions: Mike Goodlett KY - Mike Goodlett, Marlboro Light II, 2011, graphite on paper, 16 x 13.75 inches https://www.institute193.org/exhibitions-robert-beatty-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716157598-G1C9N354J2B3UCBPPVAY/1.jpg Exhibitions: Robert Beatty KY - Robert Beatty, CGR (Televison), 2011, ink and gouache on paper, 11 x 14 inches Robert Beatty Cream Grid Reruns July 21 – September 24, 2011 Institute 193, Lexington Cream Grid Reruns: Recurring Dreams. A television crashes in the desert, its neon guts spilling onto the black and white dirt of this new place. Plants take root, growing towards some unknown light. You have been here before. A wall of televisions flickers on, static and golden lips. Your eyes taste the light. You wake up. An unsung contemporary of artists like Cory Arcangel and Ryan Trecartin, Robert Beatty repurposes the tools of outmoded technology, creating hybridized drawings, videos, sculptures, music and installations that blur sensory boundaries. In Beatty’s recurring dreams, the artificial and organic are one. Televisions give birth to videos or plants or sounds. Hot glue stalagmites grow up from glass-encased platforms, while jade plants languish in mason jars. The cumulative effect is the creation of a new place, familiar and distant. Beatty is primarily known as a founding member of Hair Police, a noise band based in Lexington, Kentucky but has also produced a seemingly endless number of music videos and illustrated countless record covers. Cream Grid Reruns is the first solo exhibition of Beatty’s work, a synesthesia-invoking installation exploring the intersections of technology and imagination. View Landline from Resonant Hole on Vimeo. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716157598-G1C9N354J2B3UCBPPVAY/1.jpg Exhibitions: Robert Beatty KY - Robert Beatty, CGR (Televison), 2011, ink and gouache on paper, 11 x 14 inches Robert Beatty Cream Grid Reruns July 21 – September 24, 2011 Institute 193, Lexington Cream Grid Reruns: Recurring Dreams. A television crashes in the desert, its neon guts spilling onto the black and white dirt of this new place. Plants take root, growing towards some unknown light. You have been here before. A wall of televisions flickers on, static and golden lips. Your eyes taste the light. You wake up. An unsung contemporary of artists like Cory Arcangel and Ryan Trecartin, Robert Beatty repurposes the tools of outmoded technology, creating hybridized drawings, videos, sculptures, music and installations that blur sensory boundaries. In Beatty’s recurring dreams, the artificial and organic are one. Televisions give birth to videos or plants or sounds. Hot glue stalagmites grow up from glass-encased platforms, while jade plants languish in mason jars. The cumulative effect is the creation of a new place, familiar and distant. Beatty is primarily known as a founding member of Hair Police, a noise band based in Lexington, Kentucky but has also produced a seemingly endless number of music videos and illustrated countless record covers. Cream Grid Reruns is the first solo exhibition of Beatty’s work, a synesthesia-invoking installation exploring the intersections of technology and imagination. View Landline from Resonant Hole on Vimeo. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716175904-TDKACGHTL8UPHEHA2WGE/2.jpg Exhibitions: Robert Beatty KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716176032-PIPTZMEQ38HY4F8BDWUJ/3.jpg Exhibitions: Robert Beatty KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716188912-8RRWGS77PL2SQUYN4CH4/4.jpg Exhibitions: Robert Beatty KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716189824-ZFDCXDIHYRWZUIW0XDWM/5.jpg Exhibitions: Robert Beatty KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716210709-4X95BITAXIUXP1PRO05O/6.jpg Exhibitions: Robert Beatty KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716211316-JRX3QEV7CZO27WQY0PA8/7.jpg Exhibitions: Robert Beatty KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716221074-513IVFUAFTDYV2JZPXG3/8.jpg Exhibitions: Robert Beatty KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716224008-73W570R4RKPWOPM5NTQM/9.jpg Exhibitions: Robert Beatty KY - Installation View https://www.institute193.org/exhibitions-guy-mendes-ky daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570718070830-196J9967MBMXYRBJISVY/1.jpg Exhibitions: Guy Mendes KY - Guy Mendes, Ralph Eugene Meatyard, Powell County, KY, 1970 Guy Mendes 40/40: 40 Years, 40 Portraits December 9, 2010 – January 29, 2011 Institute 193, Lexington Guy Mendes began his photographic career almost by accident. A young transplant from New Orleans, Mendes arrived at the University of Kentucky in 1966 hoping to become a journalist. The following year, he attended a rally to hear Wendell Berry speaking out against the Vietnam War. The two struck up a friendship that would eventually lead him to Eyeglasses of Kentucky, Ralph Eugene Meatyard’s optical shop and gallery. There, Mendes saw photographs by the likes of Emmet Gowin and Bill Burke and was afforded the privilege of snooping through stacks of prints, dolls, and masks that Meatyard kept in the back. Mendes and Meatyard would strike out of town on the weekend, wandering back roads, shooting pictures and swapping tales, student and teacher. Mendes was able to translate his penchant for the road and story-telling into a full-time career, working as a producer for Kentucky Educational Television for thirty-five years. Like Meatyard, Mendes has never been financially dependent upon his work as a photographer, freeing him from the normal demands and constraints of the commercial world. Unfettered by finicky clients and fickle editors, Mendes’s photography, especially his portraiture, was able to develop according to his own vision. All portraits, by definition, convey the likeness of their subject, but only great portraits impart their subjects’ mood, personality and essence. The photographer and subject engage themselves in a delicate dance of give-and-take — a momentary affair immortalized. Mendes’s greatest talent is perhaps his ability to entice portraits out of his subjects. Jim Hall, one of Mendes’s teachers, used to tell him, “A portrait is given as much as it is taken.” That line has worked its way into the rotation of stories, anecdotes, asides, and full-on performances that Mendes can recite at a moment’s notice, and was a guiding mantra as we waded through years of work to choose portraits that were the most revelatory. 40/40 is a whirlwind studio tour disguised as a book. Its pages are filled with portraits, verbal and visual, guiding the viewer through moments in the lives of forty people who have crossed paths with the artist along his own meandering course. From the streets of New Orleans to the hills of Kentucky, Guy Mendes spent forty years rambling around the South, twisting and pulling light through his lens and giving us the people and places we all recognize but were never able to see. Press: Kickstarter: The Guy Mendes 40/40 Project by Bianca Spriggs, Ace Weekly, December 9, 2010 Guy Mendes's New Photo Book Focuses on Artists, Originals by Tom Eblen, Lexington Herald-Leader, December 5, 2010 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570718070830-196J9967MBMXYRBJISVY/1.jpg Exhibitions: Guy Mendes KY - Guy Mendes, Ralph Eugene Meatyard, Powell County, KY, 1970 Guy Mendes 40/40: 40 Years, 40 Portraits December 9, 2010 – January 29, 2011 Institute 193, Lexington Guy Mendes began his photographic career almost by accident. A young transplant from New Orleans, Mendes arrived at the University of Kentucky in 1966 hoping to become a journalist. The following year, he attended a rally to hear Wendell Berry speaking out against the Vietnam War. The two struck up a friendship that would eventually lead him to Eyeglasses of Kentucky, Ralph Eugene Meatyard’s optical shop and gallery. There, Mendes saw photographs by the likes of Emmet Gowin and Bill Burke and was afforded the privilege of snooping through stacks of prints, dolls, and masks that Meatyard kept in the back. Mendes and Meatyard would strike out of town on the weekend, wandering back roads, shooting pictures and swapping tales, student and teacher. Mendes was able to translate his penchant for the road and story-telling into a full-time career, working as a producer for Kentucky Educational Television for thirty-five years. Like Meatyard, Mendes has never been financially dependent upon his work as a photographer, freeing him from the normal demands and constraints of the commercial world. Unfettered by finicky clients and fickle editors, Mendes’s photography, especially his portraiture, was able to develop according to his own vision. All portraits, by definition, convey the likeness of their subject, but only great portraits impart their subjects’ mood, personality and essence. The photographer and subject engage themselves in a delicate dance of give-and-take — a momentary affair immortalized. Mendes’s greatest talent is perhaps his ability to entice portraits out of his subjects. Jim Hall, one of Mendes’s teachers, used to tell him, “A portrait is given as much as it is taken.” That line has worked its way into the rotation of stories, anecdotes, asides, and full-on performances that Mendes can recite at a moment’s notice, and was a guiding mantra as we waded through years of work to choose portraits that were the most revelatory. 40/40 is a whirlwind studio tour disguised as a book. Its pages are filled with portraits, verbal and visual, guiding the viewer through moments in the lives of forty people who have crossed paths with the artist along his own meandering course. From the streets of New Orleans to the hills of Kentucky, Guy Mendes spent forty years rambling around the South, twisting and pulling light through his lens and giving us the people and places we all recognize but were never able to see. Press: Kickstarter: The Guy Mendes 40/40 Project by Bianca Spriggs, Ace Weekly, December 9, 2010 Guy Mendes's New Photo Book Focuses on Artists, Originals by Tom Eblen, Lexington Herald-Leader, December 5, 2010 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570718076899-4PEGQ4KY9BTFGPMS9ZQD/2.jpg Exhibitions: Guy Mendes KY - Guy Mendes, Robert Tharsing, Lexington, KY, 2008 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570718076741-6EYQ4C24L0Z6UWTGK2A2/3.jpg Exhibitions: Guy Mendes KY - Guy Mendes, Ben Sollee and Daniel Martin Moore, Bellini's Ballroom, Lexington, KY, 2009 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570718079017-TQHGNUSWHD6YCPL9D4WY/4.jpg Exhibitions: Guy Mendes KY - Guy Mendes, Cowboy Steve Taylor, Lexington, KY, 1976 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570718078613-RUXB3GMFQCXR1QIGVWZH/5.jpg Exhibitions: Guy Mendes KY - Guy Mendes, Teri Marie Faragher, Kenton Hills, KY, 1980 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570718081178-Z77EZGNTCL3JSP2P4GEU/6.jpg Exhibitions: Guy Mendes KY - Guy Mendes, Juliette Lee Moore, Kit's Hole, Clark County, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570718081577-WE6HDQSE55F2R726SZ43/7.jpg Exhibitions: Guy Mendes KY - Guy Mendes, Jonathan Williams, Zoder's Best Western, Gatlinburg, TN, 1974 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570718091625-QN6NZX4CQ3AJBD0TQZIC/8.jpeg Exhibitions: Guy Mendes KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570718092572-ABPT01941Q4RZ8IL1PFZ/9.jpeg Exhibitions: Guy Mendes KY - Installation View https://www.institute193.org/exhibitions-lina-tharsing-ky daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716823534-DJ7EYUCBR60BWT5DFZSP/1.jpg Exhibitions: Lina Tharsing KY - Lina Tharsing, Natural History I, 2011, oil on canvas, 36 x 48 inches Lina Tharsing Natural History March 31 – May 28, 2011 Institute 193, Lexington The American Museum of Natural History proclaims, “The viewer of a habitat group diorama is able to travel not only across continents, but also, in some cases, through time.” We can view habitats that are thousands of miles away and environments that were destroyed long ago through complex constructions that employ false perspective and curved painted backdrops, tricking the viewer into believing he is looking through a window to the natural world. The original diorama paintings created by James Perry Wilson were a sort of virtual reality engineering. According to Steven Quinn, senior project manager of the restoration of the museum’s diorama, “They were windows into other worlds and landscapes, and the engineering that went into making them completely convincing is still astounding now,” adding that when the hall opened in 1942, just after America’s entry into the Second World War, “the dioramas became a kind of patriotic pageant, a picture of our land and our values. They stood for America.” For over seventy years these masterworks of American art and engineering have captured the imaginations of filmmakers, photographers, painters, and artists from all over the world, including Lina Tharsing. Unlike the original museum installations, her paintings do not attempt to mimic a natural reality but serve as points of departure to explore the complexities of perception, blurring the boundaries between imagination and reality and speaking to the inherent tensions embodied by those environments. The artist Hiroshi Sugimoto chose to document the museum with a camera, capitalizing on its ability to skew perspective and create reality from fiction. By choosing to work in oil paint, Tharsing forces us to further question the verisimilitude of our own existence. She observes: “Paintings lie. In photographs, things feel documented, but paintings can’t help but be symbolic.” What better medium to comment on our perception of reality than one that by its intrinsic nature distorts the truth? Tharsing’s paintings seek a precise moment in both time and space when the lines of fiction and reality intersect. At that instant anything is possible. The traditional limits of belief and understanding are called into question and replaced with a deliberately composed tension of multiple truths. The viewer of these works is asked not to study the individual painted figures, animals, or props, but to look through a window onto other worlds and landscapes, across place and time, and to find their own truths. Press: Interview with Lina Tharsing by Phillip March Jones, Whitehot Magazine, April 2011 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716823534-DJ7EYUCBR60BWT5DFZSP/1.jpg Exhibitions: Lina Tharsing KY - Lina Tharsing, Natural History I, 2011, oil on canvas, 36 x 48 inches Lina Tharsing Natural History March 31 – May 28, 2011 Institute 193, Lexington The American Museum of Natural History proclaims, “The viewer of a habitat group diorama is able to travel not only across continents, but also, in some cases, through time.” We can view habitats that are thousands of miles away and environments that were destroyed long ago through complex constructions that employ false perspective and curved painted backdrops, tricking the viewer into believing he is looking through a window to the natural world. The original diorama paintings created by James Perry Wilson were a sort of virtual reality engineering. According to Steven Quinn, senior project manager of the restoration of the museum’s diorama, “They were windows into other worlds and landscapes, and the engineering that went into making them completely convincing is still astounding now,” adding that when the hall opened in 1942, just after America’s entry into the Second World War, “the dioramas became a kind of patriotic pageant, a picture of our land and our values. They stood for America.” For over seventy years these masterworks of American art and engineering have captured the imaginations of filmmakers, photographers, painters, and artists from all over the world, including Lina Tharsing. Unlike the original museum installations, her paintings do not attempt to mimic a natural reality but serve as points of departure to explore the complexities of perception, blurring the boundaries between imagination and reality and speaking to the inherent tensions embodied by those environments. The artist Hiroshi Sugimoto chose to document the museum with a camera, capitalizing on its ability to skew perspective and create reality from fiction. By choosing to work in oil paint, Tharsing forces us to further question the verisimilitude of our own existence. She observes: “Paintings lie. In photographs, things feel documented, but paintings can’t help but be symbolic.” What better medium to comment on our perception of reality than one that by its intrinsic nature distorts the truth? Tharsing’s paintings seek a precise moment in both time and space when the lines of fiction and reality intersect. At that instant anything is possible. The traditional limits of belief and understanding are called into question and replaced with a deliberately composed tension of multiple truths. The viewer of these works is asked not to study the individual painted figures, animals, or props, but to look through a window onto other worlds and landscapes, across place and time, and to find their own truths. Press: Interview with Lina Tharsing by Phillip March Jones, Whitehot Magazine, April 2011 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716829843-CB20P90ZD26WNSPY4IRX/2.jpg Exhibitions: Lina Tharsing KY - Lina Tharsing, Torn, 2011, oil on panel, 12 x 12.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716837866-WJWWM8C8GB2B3FVQBHVK/3.jpg Exhibitions: Lina Tharsing KY - Lina Tharsing, Silent Growl, 2011, oil on panel, 12 x 12.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716843696-E157QRIXW42ZAPU3VIOS/4.jpg Exhibitions: Lina Tharsing KY - Lina Tharsing, Bird in a Room, 2011, oil on panel, 12 x 12.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716849814-I9RLANRVTDF1CGKX6VBT/5.jpg Exhibitions: Lina Tharsing KY - Lina Tharsing, Lucky, oil on panel, 13 x 17 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716855319-SMFPPGUGW4X7LPOR82EL/6.jpg Exhibitions: Lina Tharsing KY - Lina Tharsing, Stork Diorama, 2011, oil on panel, 12 x 12.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716860638-AMGDCO2FBN0B8BXRG65Z/7.jpg Exhibitions: Lina Tharsing KY - Lina Tharsing, Field Museum, 2011, oil on panel 13 x 17 inches https://www.institute193.org/exhibitions-so-il-ky daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571318618795-450I2YFZKN6IQ72K31PZ/1.jpg Exhibitions: SO-IL KY - SO-IL, drawing for Chemayeff Model Table, 2009 SO-IL Future Archaeology September 9 – October 2, 2010 Institute 193, Lexington SO-IL bills itself as a “small office with a global reach.” Sound familiar? SO-IL was founded in 2007 as a “creative catalyst” designed to aid in any and all stages of the architectural process and “vehemently believes in realizing their ideas in the world.” Enterprises like SO-IL are not think-tanks or conceptual incubators, but action-oriented businesses focused on the physical manifestation of their ideas across the globe. Florian Idenburg and Jing Liu, the founders of SO-IL, traveled periodically to Lexington in the fall of 2010 to run the Brown Forman Urban Design Studio. Institute 193 collaborated with the UK College of Design to present an exhibition that introduced the architects and their work to the Lexington community, providing an opportunity for interaction and discussion outside of the traditional classroom setting. SO-IL’s structure and ambitious project schedule represent a model that we find particularly compelling. SO-IL is living proof that a small space can have a global reach. According to Michael Speaks, former dean of the UK College of Design, “SO-IL is analytical but not abstract, rigorous but not dogmatic, proactive but not ideological. Their work is subtle but not precious, beautiful but not glamorous, intellectual but not pretentious. And that is because their greatest ambition is to play a role, sometimes small, sometimes large, in shaping the real. In light of the new economic realities we must all now confront, such ambition seems almost heroic.” This exhibition is sponsored by The University of Kentucky College of Design and Art Without Walls. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571318618795-450I2YFZKN6IQ72K31PZ/1.jpg Exhibitions: SO-IL KY - SO-IL, drawing for Chemayeff Model Table, 2009 SO-IL Future Archaeology September 9 – October 2, 2010 Institute 193, Lexington SO-IL bills itself as a “small office with a global reach.” Sound familiar? SO-IL was founded in 2007 as a “creative catalyst” designed to aid in any and all stages of the architectural process and “vehemently believes in realizing their ideas in the world.” Enterprises like SO-IL are not think-tanks or conceptual incubators, but action-oriented businesses focused on the physical manifestation of their ideas across the globe. Florian Idenburg and Jing Liu, the founders of SO-IL, traveled periodically to Lexington in the fall of 2010 to run the Brown Forman Urban Design Studio. Institute 193 collaborated with the UK College of Design to present an exhibition that introduced the architects and their work to the Lexington community, providing an opportunity for interaction and discussion outside of the traditional classroom setting. SO-IL’s structure and ambitious project schedule represent a model that we find particularly compelling. SO-IL is living proof that a small space can have a global reach. According to Michael Speaks, former dean of the UK College of Design, “SO-IL is analytical but not abstract, rigorous but not dogmatic, proactive but not ideological. Their work is subtle but not precious, beautiful but not glamorous, intellectual but not pretentious. And that is because their greatest ambition is to play a role, sometimes small, sometimes large, in shaping the real. In light of the new economic realities we must all now confront, such ambition seems almost heroic.” This exhibition is sponsored by The University of Kentucky College of Design and Art Without Walls. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571318621763-OMASLROPKJEY6Z9177R5/2.jpg Exhibitions: SO-IL KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571318625553-0CDW3JXJE9XO3Z34LVGU/3.jpg Exhibitions: SO-IL KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571318628431-4LIYRETN4B18TUFRWCHU/4.jpg Exhibitions: SO-IL KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571318630438-VWFACX4RZQQL8FZ90FME/5.jpg Exhibitions: SO-IL KY - Installation View https://www.institute193.org/exhibitions-travis-shaffer-ky daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571498001903-3H6MSCO6PZ96SRJ8SYFB/1.jpg Exhibitions: Travis Shaffer KY - Travis Shaffer, Residential Facades: Volume Two, 2010, silver gelatin prints in IKEA Ribbed Frames, 9 x 9 inches Travis Shaffer Residential Facades August 12 – September 5, 2010 Institute 193, Lexington Travis Shaffer, an MFA graduate of the University of Kentucky, has been documenting the architecture of the American suburbs for years. Influenced by artists such as Ed Ruscha, he has produced a steady stream of portfolios and small books that document commercial and religious properties: mega-churches, parking lots, and Wal-Mart shopping centers. For his exhibition at Institute 193, Residential Facades, Shaffer turned his lens on structures built for shelter. Shaffer’s project is distinctly local; the buildings featured in these pictures are from specific suburban developments in Kentucky. However, each structure is so bland, so generic, they could be from any community in the United States. This spirit of sterile anonymity was reinforced by the gallery installation—each photograph was printed to fit inside mass-produced IKEA frames and arranged in stark grids. Shaffer captures each house from one dimension, usually choosing to focus on street-oriented edifices with no doors or windows. Devoid of human or animal life, Shaffer presents these structures as houses—not homes. Though his project makes a deliberate reference to Industrial Facades, a series by the German photographers Bernd and Hilla Becher, Shaffer’s aim is not to seek out overlooked beauty. On the contrary, these photographs are a critique of mindless consumerism and unplanned, unchecked development. Residential Facades is timed to coincide with the 2010 World Equestrian Games. As host city, Lexington, Kentucky, has entered a period of hurried infrastructural expansion to prepare for an influx of international visitors. Shaffer’s exhibition is a poignant reminder of the implications of unbridled sprawl. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571498001903-3H6MSCO6PZ96SRJ8SYFB/1.jpg Exhibitions: Travis Shaffer KY - Travis Shaffer, Residential Facades: Volume Two, 2010, silver gelatin prints in IKEA Ribbed Frames, 9 x 9 inches Travis Shaffer Residential Facades August 12 – September 5, 2010 Institute 193, Lexington Travis Shaffer, an MFA graduate of the University of Kentucky, has been documenting the architecture of the American suburbs for years. Influenced by artists such as Ed Ruscha, he has produced a steady stream of portfolios and small books that document commercial and religious properties: mega-churches, parking lots, and Wal-Mart shopping centers. For his exhibition at Institute 193, Residential Facades, Shaffer turned his lens on structures built for shelter. Shaffer’s project is distinctly local; the buildings featured in these pictures are from specific suburban developments in Kentucky. However, each structure is so bland, so generic, they could be from any community in the United States. This spirit of sterile anonymity was reinforced by the gallery installation—each photograph was printed to fit inside mass-produced IKEA frames and arranged in stark grids. Shaffer captures each house from one dimension, usually choosing to focus on street-oriented edifices with no doors or windows. Devoid of human or animal life, Shaffer presents these structures as houses—not homes. Though his project makes a deliberate reference to Industrial Facades, a series by the German photographers Bernd and Hilla Becher, Shaffer’s aim is not to seek out overlooked beauty. On the contrary, these photographs are a critique of mindless consumerism and unplanned, unchecked development. Residential Facades is timed to coincide with the 2010 World Equestrian Games. As host city, Lexington, Kentucky, has entered a period of hurried infrastructural expansion to prepare for an influx of international visitors. Shaffer’s exhibition is a poignant reminder of the implications of unbridled sprawl. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571498002964-V35Z4781MU3OT2DKVA22/2.jpg Exhibitions: Travis Shaffer KY - Travis Shaffer, Residential Facades: Volume Two, 2010, silver gelatin prints in IKEA Ribbed Frames, 9 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571498004179-3HAGRXZN4IXXORT2Q18G/3.jpg Exhibitions: Travis Shaffer KY - Travis Shaffer, Residential Facades: Volume Two, 2010, silver gelatin prints in IKEA Ribbed Frames, 9 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571498005356-0DJX4TKQ4H2X1CYIOV40/4.jpg Exhibitions: Travis Shaffer KY - Travis Shaffer, Residential Facades: Volume Two, 2010, silver gelatin prints in IKEA Ribbed Frames, 9 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571498006658-FWHK96Z0918LGOS5QU46/5.jpg Exhibitions: Travis Shaffer KY - Travis Shaffer, Residential Facades: Volume Two, 2010, silver gelatin prints in IKEA Ribbed Frames, 9 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571498007918-1Y3K1OGZ2KZA8M65NKB8/6.jpg Exhibitions: Travis Shaffer KY - Travis Shaffer, Residential Facades: Volume Two, 2010, silver gelatin prints in IKEA Ribbed Frames, 9 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571498008910-J1ZWA0EJX0S2WRM4YF2X/7.jpg Exhibitions: Travis Shaffer KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571498011531-WLDHN8DJGW7ZFJDJ229Z/8.jpg Exhibitions: Travis Shaffer KY - Installation View https://www.institute193.org/exhibitions-mare-vaccaro-ky daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674821874-VHYDSXBMRCLKS6TM35JQ/1.jpg Exhibitions: Mare Vaccaro KY - Mare Vaccaro, White Tie, 2010, digital c-print, 20 x 20 inches Mare Vaccaro Multiple Personalities March 24 – April 10, 2010 Institute 193, Lexington In 1987, the U.S. Congress officially declared March Women's History Month. Institute 193, in conjunction with this period of pointed national discussion, presents Multiple Personalities, a solo exhibition by Mare Vaccaro. This exhibition focuses on Vacarro’s use of self-portrait photography and prop construction to explore evolving notions of femininity, beauty, adornment, and identity. Adorning her own body with elegant props, she creates subtly subversive images that question the power of costume, both as a tool for assimilation and a means for expressing individuality. Vaccaro has alopecia universalis, a genetic condition that renders her body completely hairless. In a sense, this makes her a blank canvas—a “deconstructed” female figure—onto which she can project a number of identities. She constructs these personae using props made from materials that are traditionally associated with female gender roles: feathers, lace, ribbon. In some photographs, she incorporates the fashions of past eras, strapping on restrictive corsets and cage-like crinolines. In others, she wraps her head in translucent cloth in a manner that evokes the demure aesthetic of a Renaissance Madonna, but does not mask her baldness. Much of the power of Vaccaro’s work comes not from these costumes themselves, but from her own uncanny physical presence. Her images are beautiful, but eerie; sometimes her face can appear startlingly alien. While she is certainly using apparel to create personae and unpack female stereotypes, she never disguises herself with makeup or prosthetics à la Cindy Sherman. In fact, she is doing the opposite. Vaccaro spends most days in a form of disguise. To move through the world with some degree of normality, she wears a wig and paints eyebrows onto her face. In these photographs, she removes that disguise while simultaneously assuming new ones. Her work can read as a gleeful triumph of the individual over society’s expectations or a revelatory acceptance of its overwhelming pressure. Sometimes we can be in disguise even when we are exposed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674821874-VHYDSXBMRCLKS6TM35JQ/1.jpg Exhibitions: Mare Vaccaro KY - Mare Vaccaro, White Tie, 2010, digital c-print, 20 x 20 inches Mare Vaccaro Multiple Personalities March 24 – April 10, 2010 Institute 193, Lexington In 1987, the U.S. Congress officially declared March Women's History Month. Institute 193, in conjunction with this period of pointed national discussion, presents Multiple Personalities, a solo exhibition by Mare Vaccaro. This exhibition focuses on Vacarro’s use of self-portrait photography and prop construction to explore evolving notions of femininity, beauty, adornment, and identity. Adorning her own body with elegant props, she creates subtly subversive images that question the power of costume, both as a tool for assimilation and a means for expressing individuality. Vaccaro has alopecia universalis, a genetic condition that renders her body completely hairless. In a sense, this makes her a blank canvas—a “deconstructed” female figure—onto which she can project a number of identities. She constructs these personae using props made from materials that are traditionally associated with female gender roles: feathers, lace, ribbon. In some photographs, she incorporates the fashions of past eras, strapping on restrictive corsets and cage-like crinolines. In others, she wraps her head in translucent cloth in a manner that evokes the demure aesthetic of a Renaissance Madonna, but does not mask her baldness. Much of the power of Vaccaro’s work comes not from these costumes themselves, but from her own uncanny physical presence. Her images are beautiful, but eerie; sometimes her face can appear startlingly alien. While she is certainly using apparel to create personae and unpack female stereotypes, she never disguises herself with makeup or prosthetics à la Cindy Sherman. In fact, she is doing the opposite. Vaccaro spends most days in a form of disguise. To move through the world with some degree of normality, she wears a wig and paints eyebrows onto her face. In these photographs, she removes that disguise while simultaneously assuming new ones. Her work can read as a gleeful triumph of the individual over society’s expectations or a revelatory acceptance of its overwhelming pressure. Sometimes we can be in disguise even when we are exposed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674828484-Q5F1Q88XOL9TG6RLH04N/2.jpg Exhibitions: Mare Vaccaro KY - Mare Vaccaro, Secrets, 2010, digital c-print, 20 x 20 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674829645-E8PH9UZM1IYAV08D5BMB/3.jpg Exhibitions: Mare Vaccaro KY - Mare Vaccaro, Valor, 2010, digital c-print, 20 x 20 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674831623-ZXIZTDYLG7M3ITI61ZJ7/4.jpg Exhibitions: Mare Vaccaro KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674834273-PQC6U4C7S3HCZOFYYP9J/5.jpg Exhibitions: Mare Vaccaro KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674834098-8JOK4EAVEF127XWOIP5Y/6.jpg Exhibitions: Mare Vaccaro KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674835744-36N69UR4MWOMP1VZQT0H/7.jpg Exhibitions: Mare Vaccaro KY - Installation View https://www.institute193.org/exhibitions-robert-morgan-ky daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674332011-4I4WS71C9SSF4DZL9H0R/1.jpg Exhibitions: Robert Morgan KY - Robert Morgan, St. Martha's Dark Night, 2010, mixed media, 40 x 44 x 27 inches Robert Morgan All That Glitters... April 15 – May 15, 2010 Institute 193, Lexington Robert Morgan began his art career as a scavenger collecting photos, personal mementos, and everyday objects from the homes of young gay men who were the victims of AIDS, alcoholism, and drug abuse. These objects, regardless of their original significance, were routinely abandoned or thrown away by families that had little use for the remainders of their sons' lives. Blessed with a strong sense of curiosity and a perverse Midas touch, Morgan was able to turn these banal objects into works of art through a complex method of assemblage and adornment. Objects are wrapped, glued, and nailed together — infused with religious and personal iconography — and then covered in a thick layer of polyurethane making them glisten and shine like glass. But all that glitters is not gold. It is garbage, junk, trash, detritus, personal, anonymous and all but completely forgotten. It is bottle caps, construction netting, baby dolls, and caution tape. But it glitters all the same. The show's title, All That Glitters... is an abbreviated misquote from Shakespeare's original line, "All that glitters is not gold." Morgan's work is the result of a lifelong accumulation of tangible "quotes" — objects taken from the piles of what is left after their original lives have ended. These objects of all shapes and sizes make their way to Morgan's studio and are reassigned meaning by the artist, assembled into the massive altar in the living room, piled in the bedroom or tacked onto a work in progress. Misquoting, repurposing, and reinventing are the tools that drive Morgan's creative process. The most recent incarnation of Morgan's accumulative process manifests itself in the form of a small army. Saints, warriors, and sentries — on foot and on horseback — march through the gallery and into the street towards the eager eyes and faces pressed up against the gallery's front window. Created in conjunction with Lexington's EcoGrant program, this exhibition and catalog address the concept of recycling both physically and conceptually. Morgan's work literally recycles and repurposes trash, but more importantly, it recycles memories, experiences, and stories that would have otherwise been thrown away. Press: EcoART in the Community by Amber Scott, North of Center, April 22, 2010 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674332011-4I4WS71C9SSF4DZL9H0R/1.jpg Exhibitions: Robert Morgan KY - Robert Morgan, St. Martha's Dark Night, 2010, mixed media, 40 x 44 x 27 inches Robert Morgan All That Glitters... April 15 – May 15, 2010 Institute 193, Lexington Robert Morgan began his art career as a scavenger collecting photos, personal mementos, and everyday objects from the homes of young gay men who were the victims of AIDS, alcoholism, and drug abuse. These objects, regardless of their original significance, were routinely abandoned or thrown away by families that had little use for the remainders of their sons' lives. Blessed with a strong sense of curiosity and a perverse Midas touch, Morgan was able to turn these banal objects into works of art through a complex method of assemblage and adornment. Objects are wrapped, glued, and nailed together — infused with religious and personal iconography — and then covered in a thick layer of polyurethane making them glisten and shine like glass. But all that glitters is not gold. It is garbage, junk, trash, detritus, personal, anonymous and all but completely forgotten. It is bottle caps, construction netting, baby dolls, and caution tape. But it glitters all the same. The show's title, All That Glitters... is an abbreviated misquote from Shakespeare's original line, "All that glitters is not gold." Morgan's work is the result of a lifelong accumulation of tangible "quotes" — objects taken from the piles of what is left after their original lives have ended. These objects of all shapes and sizes make their way to Morgan's studio and are reassigned meaning by the artist, assembled into the massive altar in the living room, piled in the bedroom or tacked onto a work in progress. Misquoting, repurposing, and reinventing are the tools that drive Morgan's creative process. The most recent incarnation of Morgan's accumulative process manifests itself in the form of a small army. Saints, warriors, and sentries — on foot and on horseback — march through the gallery and into the street towards the eager eyes and faces pressed up against the gallery's front window. Created in conjunction with Lexington's EcoGrant program, this exhibition and catalog address the concept of recycling both physically and conceptually. Morgan's work literally recycles and repurposes trash, but more importantly, it recycles memories, experiences, and stories that would have otherwise been thrown away. Press: EcoART in the Community by Amber Scott, North of Center, April 22, 2010 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674339604-B6QVXUZOFBWSDZJW2JU3/2.jpg Exhibitions: Robert Morgan KY - Robert Morgan, Ancestral Head #1, 2010, mixed media, 24 x 8 x 8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674340746-JK8308JFK4G04R6AKITY/3.jpg Exhibitions: Robert Morgan KY - Robert Morgan, Son of Lobster Boy, 2010, mixed media, 12 x 6 x 4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674343443-05SWJ7RVYHZO6SPI0926/4.jpg Exhibitions: Robert Morgan KY - Robert Morgan, Mother of the Waters, 2010, mixed media, 44 x 22 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674345575-B1QUN9RXCXJOJ2BYYO0O/5.jpg Exhibitions: Robert Morgan KY - Robert Morgan, St. George and the Dragon, 2010, mixed media, 40 x 44 x 27 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674349319-I7O0ILJEKN92LS93DOUY/6.jpg Exhibitions: Robert Morgan KY - Installation View, Courtesy of Louis Zoellar Bickett https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674349123-M0AK3YTICB5VD73E44VK/7.jpg Exhibitions: Robert Morgan KY - Portrait of Robert Morgan, Courtesy of Louis Zoellar Bickett https://www.institute193.org/exhibitions-louis-zoellar-bickett-archive-ky daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675786530-TEE0ORY3VG0G79BERPNU/2.jpg Exhibitions: Louis Zoellar Bickett KY - Louis Zoellar Bickett, Augie and Pinch's Comb, August 15, 2009, dog brush with tag, approximately 7 x 2.5 inches Louis Zoellar Bickett Selections From The Archive October 15 – November 30, 2009 Institute 193, Lexington Since 1972, Louis Zoellar Bickett has meticulously collected and catalogued items from his daily life and assembled them into a functioning installation he refers to as: THE ARCHIVE. Photographs, dinner receipts, dog brushes, jars, binders and items of every sort are tagged and neatly placed within the 3-D collage that serves as home and studio to the artist. The archive’s contents are seemingly endless and infinitely varied. Bickett’s genius lies in his ability to transform the most basic object into a highly sophisticated work of art using a simple associative process. The collection, organization and archiving of everyday objects imbues them with significance beyond function or simple metaphor. Every object is tagged with a name and date, corresponding to a set of events, an idea or some larger ongoing project. The object’s viewer knows precisely what it is, where it’s from, why it was purchased, the name of its previous owner or the role that it plays in the artist’s life. Its placement within the archive further secures its importance and guarantees its survival. Sculptures, photographs and paintings are tagged in the same manner (and with the same precision) as ashlights, bowling bags and hats. Certain objects are “tagged” or “stamped” several times to reflect their inclusion in several projects. The debate about “what is art” is clearly answered in Bickett’s process: anything I choose. Selections from the Archive is a quick glance at a seemingly random sampling of objects. It is not intended to be a retrospective or an accounting of various projects. Indeed there are too many for an exhibition of this size. The intention is rather to select objects that resonate with simplicity and illuminate the artist’s transformative abilities, while hinting at the larger themes of sex, identity and death that permeate Bickett’s work. Furiously collecting and archiving towards death, Bickett has become the central object of the archive—missing only the tag he will receive, not unlike the rest of us, upon his own death. Louis Zoellar Bickett is a three-time recipient of the Kentucky Al Smith Fellowship and a YADDO Fellowship recipient. He has exhibited in numerous venues around the world and is a published critic and poet. He maintains a studio and The Archive Louis Zoellar Bickett in Lexington, KY. This is his debut exhibition at Institute 193. Press: Gallery’s Goal is to Get Artists ‘Out There’ by Shannon Eblen, Lexington Herald-Leader, October 15, 2009 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675786530-TEE0ORY3VG0G79BERPNU/2.jpg Exhibitions: Louis Zoellar Bickett KY - Louis Zoellar Bickett, Augie and Pinch's Comb, August 15, 2009, dog brush with tag, approximately 7 x 2.5 inches Louis Zoellar Bickett Selections From The Archive October 15 – November 30, 2009 Institute 193, Lexington Since 1972, Louis Zoellar Bickett has meticulously collected and catalogued items from his daily life and assembled them into a functioning installation he refers to as: THE ARCHIVE. Photographs, dinner receipts, dog brushes, jars, binders and items of every sort are tagged and neatly placed within the 3-D collage that serves as home and studio to the artist. The archive’s contents are seemingly endless and infinitely varied. Bickett’s genius lies in his ability to transform the most basic object into a highly sophisticated work of art using a simple associative process. The collection, organization and archiving of everyday objects imbues them with significance beyond function or simple metaphor. Every object is tagged with a name and date, corresponding to a set of events, an idea or some larger ongoing project. The object’s viewer knows precisely what it is, where it’s from, why it was purchased, the name of its previous owner or the role that it plays in the artist’s life. Its placement within the archive further secures its importance and guarantees its survival. Sculptures, photographs and paintings are tagged in the same manner (and with the same precision) as ashlights, bowling bags and hats. Certain objects are “tagged” or “stamped” several times to reflect their inclusion in several projects. The debate about “what is art” is clearly answered in Bickett’s process: anything I choose. Selections from the Archive is a quick glance at a seemingly random sampling of objects. It is not intended to be a retrospective or an accounting of various projects. Indeed there are too many for an exhibition of this size. The intention is rather to select objects that resonate with simplicity and illuminate the artist’s transformative abilities, while hinting at the larger themes of sex, identity and death that permeate Bickett’s work. Furiously collecting and archiving towards death, Bickett has become the central object of the archive—missing only the tag he will receive, not unlike the rest of us, upon his own death. Louis Zoellar Bickett is a three-time recipient of the Kentucky Al Smith Fellowship and a YADDO Fellowship recipient. He has exhibited in numerous venues around the world and is a published critic and poet. He maintains a studio and The Archive Louis Zoellar Bickett in Lexington, KY. This is his debut exhibition at Institute 193. Press: Gallery’s Goal is to Get Artists ‘Out There’ by Shannon Eblen, Lexington Herald-Leader, October 15, 2009 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675780768-SXB40ZFB7HKG6IBBWQVJ/3.jpg Exhibitions: Louis Zoellar Bickett KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675784570-AWFR94CM8YAB4VJ8YAYY/4.jpg Exhibitions: Louis Zoellar Bickett KY - Louis Zoellar Bickett, ‘Seamus Heaney Used This Knife and Fork at ‘A La Lucie’ on 4 May 2006’, May 6, 2006, plate, knife, and fork with tag https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675793005-3A0NIQ03SZPCCZDZTH5D/8.jpg Exhibitions: Louis Zoellar Bickett KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675789772-6KO1W72QDE2NMFQMWFDW/5.jpg Exhibitions: Louis Zoellar Bickett KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675791092-AUOO9RCK473N5G1DGD6O/6.jpg Exhibitions: Louis Zoellar Bickett KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675793005-TWM67COB4OJSRD8G662Z/7.jpg Exhibitions: Louis Zoellar Bickett KY - Installation View https://www.institute193.org/exhibitions-jessie-dunahoo-ky daily 0.75 2020-02-02 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571673905919-HFQP92O6SUMJ80JAZ8P4/1.jpg Exhibitions: Jessie Dunahoo KY - Installation View Jessie Dunahoo Sheltered Environment May 20 – July 3, 2010 Institute 193, Lexington Jessie Dunahoo was raised on a farm in rural Kentucky during a period when support for people considered to have a disability was even more limited than it is today. Deaf since birth, Dunahoo additionally lost his vision as a young man. Though no official record exists, it is thought that Dunahoo attended the Kentucky School for the Blind for at least a couple of years later in life. Beyond this, the artist was largely left to his own devices. Living on a farm in the ‘30s and ‘40s did, however, have its advantages and afforded the artist opportunities to explore and manipulate outdoor space. Using dirt, brush, and other found debris, Dunahoo created various earth sculptures and paths on the land immediately surrounding the family’s house. Dunahoo also used various fences and trees to hang intersecting lines, ropes and wires that could be grasped and threaded, creating a 3-D map he used to navigate outdoor space, a practice he has maintained throughout his life, despite becoming a client of social services and residing in state-operated group homes. In time, Dunahoo’s environments have grown and evolved into complex sewn structures made of found materials, including grocery bags, fabric samples, pieces of old clothing and twine. Through an interpreter, Jessie describes his works as shelters and they are strung about his home and yard, covering his walls, floor and ceiling. Dunahoo is aware that others view and evaluate his constructions and is always delighted to play the docent, escorting interested viewers in and around his creations. Outside of his home, Dunahoo maintains a studio at the Latitude Artist Community. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571673905919-HFQP92O6SUMJ80JAZ8P4/1.jpg Exhibitions: Jessie Dunahoo KY - Installation View Jessie Dunahoo Sheltered Environment May 20 – July 3, 2010 Institute 193, Lexington Jessie Dunahoo was raised on a farm in rural Kentucky during a period when support for people considered to have a disability was even more limited than it is today. Deaf since birth, Dunahoo additionally lost his vision as a young man. Though no official record exists, it is thought that Dunahoo attended the Kentucky School for the Blind for at least a couple of years later in life. Beyond this, the artist was largely left to his own devices. Living on a farm in the ‘30s and ‘40s did, however, have its advantages and afforded the artist opportunities to explore and manipulate outdoor space. Using dirt, brush, and other found debris, Dunahoo created various earth sculptures and paths on the land immediately surrounding the family’s house. Dunahoo also used various fences and trees to hang intersecting lines, ropes and wires that could be grasped and threaded, creating a 3-D map he used to navigate outdoor space, a practice he has maintained throughout his life, despite becoming a client of social services and residing in state-operated group homes. In time, Dunahoo’s environments have grown and evolved into complex sewn structures made of found materials, including grocery bags, fabric samples, pieces of old clothing and twine. Through an interpreter, Jessie describes his works as shelters and they are strung about his home and yard, covering his walls, floor and ceiling. Dunahoo is aware that others view and evaluate his constructions and is always delighted to play the docent, escorting interested viewers in and around his creations. Outside of his home, Dunahoo maintains a studio at the Latitude Artist Community. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571673916674-ULE7970MIJSTER8QQYKT/2.jpg Exhibitions: Jessie Dunahoo KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571673917077-Q0570MBWVTFJNPVUW2K1/3.jpg Exhibitions: Jessie Dunahoo KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571673923636-JSU5ESTKX7UFWCNL9IWH/4.jpg Exhibitions: Jessie Dunahoo KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571673923230-WBWUQI4UVBT89EH987OE/5.jpg Exhibitions: Jessie Dunahoo KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571673924703-8E98HXKCJACUMUCKLM8W/6.jpg Exhibitions: Jessie Dunahoo KY - Jessie Dunahoo with his work, Institute 193, 2010 https://www.institute193.org/exhibitions-bruce-burris-ky daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675296162-NRHU6FTK3WYUJBTJDTZL/2.jpg Exhibitions: Bruce Burris KY Bruce Burris We Will Someday, Someday We Will January 14 – February 20, 2010 Institute 193, Lexington We Will Someday, Someday We Will. It might be tomorrow, the day after or even next week, but we will. Someday we will. Our lives are full of daily resolutions to improve ourselves and the way we live. The majority of these resolutions are put off indefinitely with the ever-comforting “someday.” But there is work to be done, and the indefinite future has to come about someday. Bruce Burris’ exhibition at Institute 193 is an amalgam of sculpture, drawing, painting and installation work all crammed into our 350-square-foot gallery. In a way, it is the perfect space to explore Burris’s vision, which is constructed using colorful bursts of information, text and image. The pieces support one another as building blocks of the artist’s larger vision. The subjects of mountaintop removal, community dynamics and protest are dynamic issues that are quick to evoke heated discussion, especially in the state of Kentucky. Burris handles these delicate issues with essential humor and whimsy, but is never dismissive of their power to divide. This exhibition represents a certain kind of expansive potential for Burris’ work. Each of the works contained within these pages is designed to grow. They are not the products of short-term vision but well-polished models intended for larger installations and bodies of work. The Lonely Mountain Community Center has a never-ending energy that allows it to alter its scale, content and aesthetic at will. The cultural ephemera being created by the Stoner Creek Boys can continue to evolve into an infinite number of physical incantations, further adding to their myth. The Mountain Top Removal Protestors can grow into a full-fledged army of opposition, fighting for their cause in large numbers. Their armed opposition will obviously augment their own forces in response. We Will Someday, Someday We Will is full of potential energy and challenges all of us to engage with our larger community and become a part of the ongoing debates that shape our future. Someday is not as far off as it seems. Press: In Conversation with Bruce Burris by Phillip March Jones, Whitehot Magazine, January 2010 Someday is Today: Burris Exhibit Engages Politics, Social Justice by Amber Scott, North of Center, January 29, 2010 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675296162-NRHU6FTK3WYUJBTJDTZL/2.jpg Exhibitions: Bruce Burris KY Bruce Burris We Will Someday, Someday We Will January 14 – February 20, 2010 Institute 193, Lexington We Will Someday, Someday We Will. It might be tomorrow, the day after or even next week, but we will. Someday we will. Our lives are full of daily resolutions to improve ourselves and the way we live. The majority of these resolutions are put off indefinitely with the ever-comforting “someday.” But there is work to be done, and the indefinite future has to come about someday. Bruce Burris’ exhibition at Institute 193 is an amalgam of sculpture, drawing, painting and installation work all crammed into our 350-square-foot gallery. In a way, it is the perfect space to explore Burris’s vision, which is constructed using colorful bursts of information, text and image. The pieces support one another as building blocks of the artist’s larger vision. The subjects of mountaintop removal, community dynamics and protest are dynamic issues that are quick to evoke heated discussion, especially in the state of Kentucky. Burris handles these delicate issues with essential humor and whimsy, but is never dismissive of their power to divide. This exhibition represents a certain kind of expansive potential for Burris’ work. Each of the works contained within these pages is designed to grow. They are not the products of short-term vision but well-polished models intended for larger installations and bodies of work. The Lonely Mountain Community Center has a never-ending energy that allows it to alter its scale, content and aesthetic at will. The cultural ephemera being created by the Stoner Creek Boys can continue to evolve into an infinite number of physical incantations, further adding to their myth. The Mountain Top Removal Protestors can grow into a full-fledged army of opposition, fighting for their cause in large numbers. Their armed opposition will obviously augment their own forces in response. We Will Someday, Someday We Will is full of potential energy and challenges all of us to engage with our larger community and become a part of the ongoing debates that shape our future. Someday is not as far off as it seems. Press: In Conversation with Bruce Burris by Phillip March Jones, Whitehot Magazine, January 2010 Someday is Today: Burris Exhibit Engages Politics, Social Justice by Amber Scott, North of Center, January 29, 2010 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675298763-V3D4BJCAFA9IROEOFQ5F/3.jpg Exhibitions: Bruce Burris KY - Bruce Burris, Are Ye One With Stoner Creek (detail), 2007-09, mixed media on paper, 89 x 112 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675298974-NZ5YBK981H81FUAI06BG/4.jpg Exhibitions: Bruce Burris KY - Bruce Burris, We Will Someday, Someday We Will, 2009, mixed media, 19 x 17 x 13 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675301133-BMCJE4GZJLY3B2868ETV/5.jpg Exhibitions: Bruce Burris KY - Bruce Burris, Untitled (No to Mountain Top Removal), 2010, mixed media, approximately 10 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675302491-7JFWW2S0AM866WWWRH65/6.jpg Exhibitions: Bruce Burris KY - Bruce Burris, Lonely Mountain Community Center, 2008-09, mixed media, 72 x 96 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675305176-M52A00OP2WHJG9SHS3XZ/7.jpg Exhibitions: Bruce Burris KY - Installation View https://www.institute193.org/exhibitions-aaron-skolnick-ny daily 0.75 2020-02-09 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572982819577-7IM0OFZOBMVC8EUVCX68/AS_Watching_You_Get_In_Bed_oil_on_linen_12_x_18_inches.jpg Exhibitions: Aaron Skolnick NY - Aaron Skolnick, Watching You Get Into Bed, 2019, oil on linen, 12 x 18 inches Aaron Michael Skolnick Your Voice Lying Gently In My Ear November 6 – December 21, 2019 Institute 193 (1B), New York Aaron Michael Skolnick, an artist born and raised in Kentucky, relocated to Hudson, New York in the summer of 2018 for both personal and professional reasons. Before moving, he had spent several years taking care of his late husband, an artist and occasional collaborator who had been diagnosed with ALS. The experience fundamentally changed the nature of their relationship, requiring Skolnick to focus his attention on the immediate and constant needs of his partner who was forty years his senior. With limited time to spend outside of their shared home, Skolnick drew and painted over one hundred portraits of his husband in various positions, mostly seated or lying in bed. Made at the encouragement of his partner, the portraits were testaments to love and patience but also to longing and suffering. Slightly more than two years later, Skolnick has found a new subject for his portraits, turning the brush on himself and a recent love interest. The resulting works are brighter and looser, eschewing fate and inevitability, in favor of promise and growth. Nude bodies, flowers, and close-up renderings of the male anatomy, viewed together, illustrate a complex story of the reclamation of the artist’s sexuality and portend a new beginning for him in both love and the larger machinations of the world. Skolnick’s images are painted from photos, videos, screenshots, Polaroids, or expanded from drawings made in intimate moments. Teetering between reflection and anticipation, the paintings feel like softened but meditative snapshots in a world where seemingly every instant is captured only to be sent, viewed, and almost immediately discarded. These paintings, mostly rendered in oil on linen, are more permanent versions of that experience—of fleeting moments rendered with a deep expectation of the next. Press: Male Nudes, Exposed & Examined by Edward M. Gómez, Hyperallergic, November 9, 2019 Aaron Michael Skolnick - Your Voice Lying Gently In My Ear - Institute 193 by Tyler Akers, GAYLETTER, November 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572982819577-7IM0OFZOBMVC8EUVCX68/AS_Watching_You_Get_In_Bed_oil_on_linen_12_x_18_inches.jpg Exhibitions: Aaron Skolnick NY - Aaron Skolnick, Watching You Get Into Bed, 2019, oil on linen, 12 x 18 inches Aaron Michael Skolnick Your Voice Lying Gently In My Ear November 6 – December 21, 2019 Institute 193 (1B), New York Aaron Michael Skolnick, an artist born and raised in Kentucky, relocated to Hudson, New York in the summer of 2018 for both personal and professional reasons. Before moving, he had spent several years taking care of his late husband, an artist and occasional collaborator who had been diagnosed with ALS. The experience fundamentally changed the nature of their relationship, requiring Skolnick to focus his attention on the immediate and constant needs of his partner who was forty years his senior. With limited time to spend outside of their shared home, Skolnick drew and painted over one hundred portraits of his husband in various positions, mostly seated or lying in bed. Made at the encouragement of his partner, the portraits were testaments to love and patience but also to longing and suffering. Slightly more than two years later, Skolnick has found a new subject for his portraits, turning the brush on himself and a recent love interest. The resulting works are brighter and looser, eschewing fate and inevitability, in favor of promise and growth. Nude bodies, flowers, and close-up renderings of the male anatomy, viewed together, illustrate a complex story of the reclamation of the artist’s sexuality and portend a new beginning for him in both love and the larger machinations of the world. Skolnick’s images are painted from photos, videos, screenshots, Polaroids, or expanded from drawings made in intimate moments. Teetering between reflection and anticipation, the paintings feel like softened but meditative snapshots in a world where seemingly every instant is captured only to be sent, viewed, and almost immediately discarded. These paintings, mostly rendered in oil on linen, are more permanent versions of that experience—of fleeting moments rendered with a deep expectation of the next. Press: Male Nudes, Exposed & Examined by Edward M. Gómez, Hyperallergic, November 9, 2019 Aaron Michael Skolnick - Your Voice Lying Gently In My Ear - Institute 193 by Tyler Akers, GAYLETTER, November 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572982748487-TKM80P7GWTVIZTFJMS6H/AS_Relaxing_oil_on_linen_8_x_10_inches.jpg Exhibitions: Aaron Skolnick NY - Aaron Skolnick, Relaxing, 2019, oil on linen, 8 x 10 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572982645623-CZDADH7FVARFTRB9NDRV/AS_Anticipation_oil_on_linen_18_x_24_inches.jpg Exhibitions: Aaron Skolnick NY - Aaron Skolnick, Anticipation, 2019, oil on linen, 18 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572982647358-3W90NA62A7TMDC8J4TPG/AS_Blowjob_oil_on_linen_9_x_12_inches.jpg Exhibitions: Aaron Skolnick NY - Aaron Skolnick, Blowjob, 2019, oil on linen, 9 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572982785570-RB9NU74TAU1M87FSH9DK/AS_Untitled_oil_on_linen_9_x_12_inches_.jpg Exhibitions: Aaron Skolnick NY - Aaron Skolnick, Untitled, 2019, oil on linen, 9 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572982751395-UPUC3XGQTCBHQVW5JC1M/AS_Resting_oil_on_linen_9_x_12_inches.jpg Exhibitions: Aaron Skolnick NY - Aaron Skolnick, Resting, 2019, oil on linen, 9 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572982714814-TSSF024QUAWC4PT9ULER/AS_Cuddle_oil_on_linen_12_x_9_inches.jpg Exhibitions: Aaron Skolnick NY - Aaron Skolnick, Cuddle, 2019, oil on linen, 12 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572982715895-UFZ8WXZZMBGRQ4VWBSMD/AS_Morning_Dew_oil_on_linen_12_x_9_inches.jpg Exhibitions: Aaron Skolnick NY - Aaron Skolnick, Morning Dew, 2019, oil on linen, 12 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572982785659-QZR2KRA0GRXQ5JB9WP48/AS_Untitled_oil_on_linen_9_x_12_inches.jpg Exhibitions: Aaron Skolnick NY - Aaron Skolnick, Untitled, 2019, oil on linen, 9 x 12 inches https://www.institute193.org/exhibitions-amy-pleasant-ky daily 0.75 2020-08-26 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1575754711456-I0D1WXUTQ6OKZZAXPBV4/Repose%2BXIII.jpg Exhibitions: Amy Pleasant KY - Amy Pleasant, Repose XIII, 2018, ink and gouache on paper, 22.5 x 30.25 inches Amy Pleasant Someone Before You November 9 – December 20, 2019 Opening Reception: November 9, 6 – 8 PM Institute 193, Lexington A sense of gravity is present throughout Amy Pleasant’s work. Her flattened, fragmented figures, often deep, solid black against a background of crisp white, strike various poses. Some appear to be standing still perhaps with their hands to their sides. Another shows the graceful outline of a neck looking forward or up. Many are figures in repose, at rest. Pleasant’s paintings, drawings, and ceramic sculptures engage in a dialogue with one another, using gesture and line to communicate various states of stillness and movement. In our current political and social climate images of rest are rare. Calls to action and images of unrest bombard us on all sides as we are more than ever aware of the multitude of troubles facing the globe, many of which feel increasingly inevitable. Exhaustion and commitment to one’s work above all else are glorified as indicators of a person’s moral character and fitness within society. The subsequent physical and mental decline of the labor force become acceptable byproducts of a capitalist system that rewards growth, and only growth. The constant pressure to work harder and push further can be crippling. In spite of the state of the world around us, or perhaps because of it, Pleasant’s figures are at a standstill. Pleasant’s work, which has often drawn a comparison to ancient sculpture, utilizes anonymous figures as players in her representations of our daily tasks: walking, running, conversing, listening, resting, and relaxing. The figures within these works, fragmented similarly to the archaeological works to which they relate, become graphic, iconic symbols for those actions. However, unlike the frequently idealized bodies favored by some ancient cultures, Pleasant’s figures are unmistakably human. Their figures surrender to the gravity of the world around them; bodies of all kind in substitute for the sculpted torsos of the past. Pleasant is designing icons for the future. While acknowledging what can be gained from looking backward (Someone Before You), Pleasant works to see, too, those “standing before us” now. Press: Intimately Legible: A Review of Amy Pleasant at Institute 193, by Elizabeth Goodman, Under Main, December 8, 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1575754711456-I0D1WXUTQ6OKZZAXPBV4/Repose%2BXIII.jpg Exhibitions: Amy Pleasant KY - Amy Pleasant, Repose XIII, 2018, ink and gouache on paper, 22.5 x 30.25 inches Amy Pleasant Someone Before You November 9 – December 20, 2019 Opening Reception: November 9, 6 – 8 PM Institute 193, Lexington A sense of gravity is present throughout Amy Pleasant’s work. Her flattened, fragmented figures, often deep, solid black against a background of crisp white, strike various poses. Some appear to be standing still perhaps with their hands to their sides. Another shows the graceful outline of a neck looking forward or up. Many are figures in repose, at rest. Pleasant’s paintings, drawings, and ceramic sculptures engage in a dialogue with one another, using gesture and line to communicate various states of stillness and movement. In our current political and social climate images of rest are rare. Calls to action and images of unrest bombard us on all sides as we are more than ever aware of the multitude of troubles facing the globe, many of which feel increasingly inevitable. Exhaustion and commitment to one’s work above all else are glorified as indicators of a person’s moral character and fitness within society. The subsequent physical and mental decline of the labor force become acceptable byproducts of a capitalist system that rewards growth, and only growth. The constant pressure to work harder and push further can be crippling. In spite of the state of the world around us, or perhaps because of it, Pleasant’s figures are at a standstill. Pleasant’s work, which has often drawn a comparison to ancient sculpture, utilizes anonymous figures as players in her representations of our daily tasks: walking, running, conversing, listening, resting, and relaxing. The figures within these works, fragmented similarly to the archaeological works to which they relate, become graphic, iconic symbols for those actions. However, unlike the frequently idealized bodies favored by some ancient cultures, Pleasant’s figures are unmistakably human. Their figures surrender to the gravity of the world around them; bodies of all kind in substitute for the sculpted torsos of the past. Pleasant is designing icons for the future. While acknowledging what can be gained from looking backward (Someone Before You), Pleasant works to see, too, those “standing before us” now. Press: Intimately Legible: A Review of Amy Pleasant at Institute 193, by Elizabeth Goodman, Under Main, December 8, 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1575754795342-GH8BE509B2EVNP7E7YMS/Repose%2BVIII.jpg Exhibitions: Amy Pleasant KY - Amy Pleasant, Repose VIII, 2018, ink and gouache on paper, 22.5 x 30.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574102266474-FJVMK4H9OJRPQ0KW1DK6/AP1.jpg Exhibitions: Amy Pleasant KY - Amy Pleasant, Torso 15, 2019, fired and painted clay, 16 x 13.875 x 6 x 0.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574102266529-4I7KSRAHM54BZ58F6US5/AP2.jpg Exhibitions: Amy Pleasant KY - Amy Pleasant, Torso 15, 2019, fired and painted clay, 16 x 13.875 x 6 x 0.5 inches (rear view) https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574102273979-U9YB7QNFKP45Q7I266DZ/AP3.jpg Exhibitions: Amy Pleasant KY - Amy Pleasant, Bent Leg II, 2019, oil on canvas, 9 x 11 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574102272303-HCRB4MBJU6D23RP477OI/AP4.jpg Exhibitions: Amy Pleasant KY - Amy Pleasant, Neck I, 2019, fired and painted clay, 8.375 x 6 x 5.5 x 0.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574102276184-IYZFI0STJDPHCEHAA6NN/AP6.jpg Exhibitions: Amy Pleasant KY - Amy Pleasant, Neck I, 2019, fired and painted clay, 8.375 x 6 x 5.5 x 0.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574102278566-JV6BUZO5VQU0V3HY1082/AP7.jpg Exhibitions: Amy Pleasant KY - Amy Pleasant, Neck II, 2019, fired and painted clay, 6 x 5 x 4.5 x 0.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574102279992-JGNSY90Z9EZB4P6EYIGZ/AP8.jpg Exhibitions: Amy Pleasant KY - Amy Pleasant, Neck II, 2019, fired and painted clay, 6 x 5 x 4.5 x 0.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574102284992-8DMRJA3433D0YQF26UWD/APinstall1.jpg Exhibitions: Amy Pleasant KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574106868438-TSI5B3NN9XNLNWLGBWAB/APinstall2.jpg Exhibitions: Amy Pleasant KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574106871422-QTWEU5HGL74B83L6PIU0/APinstall3.jpg Exhibitions: Amy Pleasant KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574106878707-WQKRV2IDW19YX1TY4P71/APinstall4.jpg Exhibitions: Amy Pleasant KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574106878897-OZZ66Y0NMQ301X33S6U3/APinstall5.jpg Exhibitions: Amy Pleasant KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574106886645-LPAJOFCZQDVU768C07EF/APinstall6.jpg Exhibitions: Amy Pleasant KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574106892596-F2ZJ6VTR13973Q06VOK5/APinstall7.jpg Exhibitions: Amy Pleasant KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1574106894609-FS02D5Z0AYD0I9K4QBNG/APinstall8.jpg Exhibitions: Amy Pleasant KY - Installation View https://www.institute193.org/exhibitions-melvin-way-ky daily 0.75 2020-03-26 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581438450367-NBW9TIZDO8TGV88UB0LJ/FedEx+Scans_Page_57.jpg Exhibitions: Melvin Way KY - Melvin Way, Untitled, Xerox, 11 x 8.5 inches Melvin Way Xerography February 12 – March 28, 2020 Institute 193, Lexington Melvin Way’s process is private and portable. He carries his drawings with him for days, weeks, or years, working on them when time or inspiration allows. He draws on found pieces of paper with ballpoint pen, often wrapping his work in Scotch tape—probably to preserve them as they are transferred among books, magazines, pockets, bags, and drawers. Way’s drawings look like copied textbook chemical formulas but do not ultimately describe any particular substance known to man. Melvin Way: Xerography is the first exhibition to focus on the artist’s Xerographs—photocopies made using a variety of methods. Before releasing his drawings into the world, Way systematically makes copies of them. These documents serve as an informal record of his production, an inventory system, and artworks in their own right. He often further embellishes the copies with notes, writing, drawings, or diagrams explaining the origins of the original. Melvin Way lives and works in South Carolina but has spent most of his adult and creative life in New York City. In the early 1970s, while living in Brooklyn, he joined a music group with friends, composing funk ballads and playing gigs in the city. He also experimented with drugs. To make ends meet, he worked odd jobs including a stint as a machinist before developing schizophrenia in his early 20s. His life became infinitely more complicated and Way shuffled in and out of state-run mental institutions, halfway houses, drug rehabilitation centers, homeless shelters, and the occasional correctional facility. Way has made perhaps a few thousand drawings and Xerographs over the course of his life but many have been destroyed by the elements or worn thin by the constant shuffling back and forth among backpacks, wallets, pockets, drawers, and other hiding places. In some cases, the photocopies are the only record of a work of art. A publication featuring Way’s Xerographs will be released in March 2020. All images courtesy of the artist and Andrew Castrucci. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581438450367-NBW9TIZDO8TGV88UB0LJ/FedEx+Scans_Page_57.jpg Exhibitions: Melvin Way KY - Melvin Way, Untitled, Xerox, 11 x 8.5 inches Melvin Way Xerography February 12 – March 28, 2020 Institute 193, Lexington Melvin Way’s process is private and portable. He carries his drawings with him for days, weeks, or years, working on them when time or inspiration allows. He draws on found pieces of paper with ballpoint pen, often wrapping his work in Scotch tape—probably to preserve them as they are transferred among books, magazines, pockets, bags, and drawers. Way’s drawings look like copied textbook chemical formulas but do not ultimately describe any particular substance known to man. Melvin Way: Xerography is the first exhibition to focus on the artist’s Xerographs—photocopies made using a variety of methods. Before releasing his drawings into the world, Way systematically makes copies of them. These documents serve as an informal record of his production, an inventory system, and artworks in their own right. He often further embellishes the copies with notes, writing, drawings, or diagrams explaining the origins of the original. Melvin Way lives and works in South Carolina but has spent most of his adult and creative life in New York City. In the early 1970s, while living in Brooklyn, he joined a music group with friends, composing funk ballads and playing gigs in the city. He also experimented with drugs. To make ends meet, he worked odd jobs including a stint as a machinist before developing schizophrenia in his early 20s. His life became infinitely more complicated and Way shuffled in and out of state-run mental institutions, halfway houses, drug rehabilitation centers, homeless shelters, and the occasional correctional facility. Way has made perhaps a few thousand drawings and Xerographs over the course of his life but many have been destroyed by the elements or worn thin by the constant shuffling back and forth among backpacks, wallets, pockets, drawers, and other hiding places. In some cases, the photocopies are the only record of a work of art. A publication featuring Way’s Xerographs will be released in March 2020. All images courtesy of the artist and Andrew Castrucci. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581437549868-Q7Z75ZTZX6PCLORRE7V7/image.jpg Exhibitions: Melvin Way KY - Melvin Way, Untitled, Xerox, 7 x 8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581437680830-J8B85GJ09CFVALPT9FBE/CCI29012020_3_Page_05.jpg Exhibitions: Melvin Way KY - Melvin Way, Untitled, Xerox and pen, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581438567771-WQYY8FLUSLJKFDC4IDO5/FedEx%2BScans_Page_17.jpg Exhibitions: Melvin Way KY - Melvin Way, Untitled, Xerox, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581438442551-SH70V41GDZLRHG4XZP3W/FedEx+Scans_Page_18.jpg Exhibitions: Melvin Way KY - Melvin Way, Untitled, Xerox, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581438444938-TK8XPH5SQ0KK6GHM36GB/FedEx+Scans_Page_19.jpg Exhibitions: Melvin Way KY - Melvin Way, Untitled, Xerox, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581438448991-8G9MTQ8W9W6R9I6EM2PZ/FedEx+Scans_Page_55.jpg Exhibitions: Melvin Way KY - Melvin Way, Untitled, Xerox, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581520415095-79LMCI796MLS3VPN8R6T/FedEx+Scans_Page_56.jpg Exhibitions: Melvin Way KY - Melvin Way, Untitled, Xerox, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585236471142-5E0B2629XLQAOK7UPXZZ/DSC_0005.jpg Exhibitions: Melvin Way KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585236551832-K6D84041A7GTLEZ41SND/DSC_0003.jpg Exhibitions: Melvin Way KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585236622373-WGEIFLIUWBR1L7ODJ99B/DSC_0015.jpg Exhibitions: Melvin Way KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585236713822-5926CEF2LPJ5MLSQ311J/DSC_0025.jpg Exhibitions: Melvin Way KY - Installation View https://www.institute193.org/off-site-charles-williams daily 0.75 2020-08-27 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800568184-TMQJYOWG3I6H4JND7F47/Charles+Williams_070.jpg Off Site: Charles Williams - Installation View Charles Williams The Life and Death of Charles Williams Atlanta Contemporary January 23 - August 2, 2020 Charles Williams (1942 – 1998) was born in Blue Diamond, Kentucky, a place he described as a “little old country hick town in coal mining territory, eight miles from Hazard, Kentucky, back up in the hollow where the blacks lived.” As a child, Williams taught himself to draw by copying comic book figures like Superman, Dick Tracy, and Captain Marvel but never finished high school. In the early 1960s, he enrolled at the Breckinridge Job Corps Center in Morganfield to learn practical job skills. Williams seems to have thrived in the program where he honed his writing proficiency, made photographs, and even developed his first regular comic strip titled “JC of the Job Corps,” which appeared weekly on the back page of the Breckinridge Bugle—the camp newspaper. The comic recounts the adventures of teenagers enrolled in the program, led by JC, who face monsters, mummies, and the nefarious Dr. Killpatient, but also the more immediate problems of finding a job, voting rights, and economic opportunity. Williams graduated from the Job Corps program in 1967 “with flying colors” but was unable to find the kind of employment he wanted and ended up in the cleaning services of IBM in Lexington. While working as a full-time janitor Williams continued to develop his artistic practice. He created comic narratives including the Amazing Spectacular Captain Soul Superstar, a caped superhero who fights against the perpetrators of the intergalactic slave trade and an entire mini-series called the Cosmic Giggles which recounts the experiences of aliens visiting Earth. During their interstellar travels, the aliens observe racism, venereal disease, economic inequality and other problems specific to our planet; they ultimately decide to leave because of “pollution problems, gas shortage, bad weather, and the rent going up.” Facing these circumstances, the Martians can’t afford to stay and go home avoiding a potential war of the worlds. Beyond comics, Williams maintained an elaborate yard show, painting the trees around his house and embellishing them with cutouts of Mighty Mouse, Batman, and others. In his own words, “I got me this place here and decided to do something with it. I have always had art on my mind and wanted to do something out front there that I hadn’t heard of no other person doing. I fixed up the trees to give them some new life, some color, one idea got another idea and so on down the line, each idea kept building into another idea.” Williams also made hundreds of pencil holders, sculptures of all sizes and forms, with holes drilled to accommodate all sorts of writing instruments, mostly gleaned from the desk drawers of IBM employees after they had gone home for the day. Williams describes his pencil holders, “Plastic melts off the machine and it takes certain forms when it hits the floor. It becomes solid with weird shapes. I put them on a stand and paint it, keep it in its unique weird stage, and some of them forms looks like an animal’s brain. Makes you think of a brain.” Williams worked avidly on paintings, drawings, assemblages, sculptures, and furniture until his untimely death in 1998, the result of AIDS-related complications and starvation. A few months later, an organization called A Moveable Feast Lexington was founded in his honor and tasked itself with providing hot meals to people living with HIV/AIDS in the region. In death, Williams had finally become a catalyst for the kind of change he had advocated for in his comics, drawings, and sculptures but his work remains almost completely unknown. The Life and Death of Charles Williams is the first major solo exhibition of his work and features over 100 objects made between the early 1960s – 1998. This April, Institute 193 will publish the Cosmic Giggles, a graphic novel/comic, featuring over 100 drawings by Williams. This publication is produced in conjunction with The Life and Death of Charles Williams and an installation of select images from the Cosmic Giggles at Institute 193 (1B) in New York. For more information about Cosmic Giggles, click here. Press: A Soaring Visionary of Afrofuturism and Black Power, by Edward M. Gómez, Hyperallergic, March 28, 2020 Atlanta Contemporary Displays Works of Charles Williams, An Artist with Many Styles, by Ryan McFadin, WABE, January 30, 2020 Review: Contemporary’s “Charles Williams” Tells Story of Pencils, Empowerment, Despair, by David S. Cohen, ARTS ATL, February 26, 2020 Hard-Hitting Humour, by Edward M. Gómez, Raw Vision, March 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800568184-TMQJYOWG3I6H4JND7F47/Charles+Williams_070.jpg Off Site: Charles Williams - Installation View Charles Williams The Life and Death of Charles Williams Atlanta Contemporary January 23 - August 2, 2020 Charles Williams (1942 – 1998) was born in Blue Diamond, Kentucky, a place he described as a “little old country hick town in coal mining territory, eight miles from Hazard, Kentucky, back up in the hollow where the blacks lived.” As a child, Williams taught himself to draw by copying comic book figures like Superman, Dick Tracy, and Captain Marvel but never finished high school. In the early 1960s, he enrolled at the Breckinridge Job Corps Center in Morganfield to learn practical job skills. Williams seems to have thrived in the program where he honed his writing proficiency, made photographs, and even developed his first regular comic strip titled “JC of the Job Corps,” which appeared weekly on the back page of the Breckinridge Bugle—the camp newspaper. The comic recounts the adventures of teenagers enrolled in the program, led by JC, who face monsters, mummies, and the nefarious Dr. Killpatient, but also the more immediate problems of finding a job, voting rights, and economic opportunity. Williams graduated from the Job Corps program in 1967 “with flying colors” but was unable to find the kind of employment he wanted and ended up in the cleaning services of IBM in Lexington. While working as a full-time janitor Williams continued to develop his artistic practice. He created comic narratives including the Amazing Spectacular Captain Soul Superstar, a caped superhero who fights against the perpetrators of the intergalactic slave trade and an entire mini-series called the Cosmic Giggles which recounts the experiences of aliens visiting Earth. During their interstellar travels, the aliens observe racism, venereal disease, economic inequality and other problems specific to our planet; they ultimately decide to leave because of “pollution problems, gas shortage, bad weather, and the rent going up.” Facing these circumstances, the Martians can’t afford to stay and go home avoiding a potential war of the worlds. Beyond comics, Williams maintained an elaborate yard show, painting the trees around his house and embellishing them with cutouts of Mighty Mouse, Batman, and others. In his own words, “I got me this place here and decided to do something with it. I have always had art on my mind and wanted to do something out front there that I hadn’t heard of no other person doing. I fixed up the trees to give them some new life, some color, one idea got another idea and so on down the line, each idea kept building into another idea.” Williams also made hundreds of pencil holders, sculptures of all sizes and forms, with holes drilled to accommodate all sorts of writing instruments, mostly gleaned from the desk drawers of IBM employees after they had gone home for the day. Williams describes his pencil holders, “Plastic melts off the machine and it takes certain forms when it hits the floor. It becomes solid with weird shapes. I put them on a stand and paint it, keep it in its unique weird stage, and some of them forms looks like an animal’s brain. Makes you think of a brain.” Williams worked avidly on paintings, drawings, assemblages, sculptures, and furniture until his untimely death in 1998, the result of AIDS-related complications and starvation. A few months later, an organization called A Moveable Feast Lexington was founded in his honor and tasked itself with providing hot meals to people living with HIV/AIDS in the region. In death, Williams had finally become a catalyst for the kind of change he had advocated for in his comics, drawings, and sculptures but his work remains almost completely unknown. The Life and Death of Charles Williams is the first major solo exhibition of his work and features over 100 objects made between the early 1960s – 1998. This April, Institute 193 will publish the Cosmic Giggles, a graphic novel/comic, featuring over 100 drawings by Williams. This publication is produced in conjunction with The Life and Death of Charles Williams and an installation of select images from the Cosmic Giggles at Institute 193 (1B) in New York. For more information about Cosmic Giggles, click here. Press: A Soaring Visionary of Afrofuturism and Black Power, by Edward M. Gómez, Hyperallergic, March 28, 2020 Atlanta Contemporary Displays Works of Charles Williams, An Artist with Many Styles, by Ryan McFadin, WABE, January 30, 2020 Review: Contemporary’s “Charles Williams” Tells Story of Pencils, Empowerment, Despair, by David S. Cohen, ARTS ATL, February 26, 2020 Hard-Hitting Humour, by Edward M. Gómez, Raw Vision, March 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583519769211-0GLVD9DLN4MYY7747SJF/Charles+Williams_001.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800067728-3VIV1AH0LPDYSXQFZNRP/Charles+Williams.B.-2.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583520131567-OMBHTKVNM17PQVCMWKAG/Charles+Williams.B.-3.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800225614-G101JHV0JTCMZCE0SZ0Q/Charles+Williams.B.-3.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800218814-YWZYPO0TWQH225OZ9CHF/Charles+Williams.B.-4.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582752272864-CRRULJV5Y03U4A0FS9QL/Charles+Williams_006.jpg Off Site: Charles Williams 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https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581801266705-99JBXWZJKALVNH5EHK40/Charles+Williams_019.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581801288015-VZIT1AP0UZ23QZOXMDVA/Charles+Williams_022.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581801242049-RDK8T2YKI18ORVE725SD/Charles+Williams_023.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581801222458-0VJMBNGS3SJDRQMR4PF6/Charles+Williams_025.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581801198423-Z7NWILYZG7E1W1BQ5ZG7/Charles+Williams_028.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582752381664-JY7ZH45NOLQ0CPTE4BA7/Charles+Williams_087.jpg Off Site: Charles Williams 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https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581801145666-FFDG17GW7OE1GY9XA90V/Charles+Williams_036.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800543763-EE245V6IU6DUQ4H5PBEC/Charles+Williams_076.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800704951-PPBJ9WZIS7K8CK0EJMGB/Charles+Williams_052.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800322617-8IO1GBQF7WA8MFUK8DGF/Charles+Williams_053.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800302929-JXTC0ZATF583XT02EWMD/Charles+Williams_054.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582752333719-RA3IPQKZM668E1VMGFVI/Charles+Williams_058.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800636930-N09VVSJOXJCPS1KU8YH2/Charles+Williams_059.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800501364-7TNHYDBH5E400OPOMQNE/Charles+Williams_061.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800637395-X282SDLCHWI6YQNCUURO/Charles+Williams_060.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800368496-NTI8C7QYC9JBO9ANCGHR/Charles+Williams_063.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800591851-93NPU7PDHPX42XR6YTNC/Charles+Williams_064.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800394774-UXUXITBCT4MV6Q5KNSMN/Charles+Williams_066.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581800772305-YJV8JDTYAL9IK4GX4SSL/Charles+Williams_042.jpg Off Site: Charles Williams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581801021174-N4RT1WF3ZKFML6TE65OI/Charles+Williams_044.jpg Off Site: Charles Williams About the Artist Charles Williams (b. Blue Diamond, Kentucky, 1942 – 1998), described the place he grew up as a “little old country hick town in coal mining territory.” He taught himself to draw by copying comic book figures and though he never finished high school, learned practical job skills at the Breckinridge Job Corps Center before finding work as a janitor at IBM in Lexington. Williams maintained an elaborate yard show in addition to making hundreds of pencil holders, in varying sizes and forms, mostly gleaned from the desk drawers of IBM employees after they had gone home for the day. Williams worked avidly on comics, paintings, drawings, assemblages, sculptures, and furniture until his untimely death in 1998, the result of AIDS-related complications and starvation. A few months later, an organization called A Moveable Feast Lexington was founded in his honor and tasked itself with providing hot meals to people living with HIV/AIDS in the region. https://www.institute193.org/exhibitions-austin-eddy-ny daily 0.75 2020-02-22 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582405052616-EQR9BZC7ZQQ7J50FLVX7/serpentine.jpg Exhibitions: Austin Eddy NY - Austin Eddy, Mid Day on the Shore of the Serpentine, 2020, hard ground etching, 10 x 14 inches, edition of 35 Austin Eddy Cold on the 4th of July February 27 – March 1, 2020 Institute 193 (1B), New York, NY Opening Reception: Thursday, February 27th, 6–9 pm Gallery Hours: Thursday–Sunday, 10–7pm and by appointment: info@saladeditions.com. Cold on the 4th of July brings together a suite of 10 etchings and a painting produced by Austin Eddy in collaboration with Salad Editions. For the majority of these prints, Austin drew directly on copper plates using a variety of rudimentary mark-making techniques that echo and explore the language in his painted works. The Piano Kissed… (Romances Sans Paroles: Arriettes Oubliées V) ‘Joyous notes, a sounding harpsichord’s intrusion.’ Pétrus Borel “The piano kissed by a delicate hand Gleams distantly in rose-grey evening While with a wingtips’ weightless sound A fine old tune, so fragile, charming Roams discreetly, almost trembling, Through the chamber She’s long perfumed. What is this sudden cradle song That gradually lulls my poor being? What do you want of me, playful one? What do you wish, slight vague burden Drifting now, dying, towards the window Opening a little on a patch of garden?” — Paul Verlaine As with his painted works, the energetic marks that make up these images are often offset by an underlying calmness alluded to in each scene. He works with simplified forms and organic gestures to create a rhythmic momentum. This rhythm invites the viewer in to rest within each proposed moment, but energetic mark-making also highlights a tension within the work. By combining busy marks with serene natural scenes, Austin is offering a truncated perspective, coupling birds in flight, that are exploring a narrative setting that can be seen both as naive and complex. The birds in the work linger in a place between longing and indifference. The tension of this contradictory state evokes a sense of resolve in the forms. Color and its metaphors are key to the mood of these works. Often the drawings allude to specific locations, hours of day, personal interactions, and universal emotions. The prints presented here, and the birds they depict, are a vessel for longing and contradiction. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582405052616-EQR9BZC7ZQQ7J50FLVX7/serpentine.jpg Exhibitions: Austin Eddy NY - Austin Eddy, Mid Day on the Shore of the Serpentine, 2020, hard ground etching, 10 x 14 inches, edition of 35 Austin Eddy Cold on the 4th of July February 27 – March 1, 2020 Institute 193 (1B), New York, NY Opening Reception: Thursday, February 27th, 6–9 pm Gallery Hours: Thursday–Sunday, 10–7pm and by appointment: info@saladeditions.com. Cold on the 4th of July brings together a suite of 10 etchings and a painting produced by Austin Eddy in collaboration with Salad Editions. For the majority of these prints, Austin drew directly on copper plates using a variety of rudimentary mark-making techniques that echo and explore the language in his painted works. The Piano Kissed… (Romances Sans Paroles: Arriettes Oubliées V) ‘Joyous notes, a sounding harpsichord’s intrusion.’ Pétrus Borel “The piano kissed by a delicate hand Gleams distantly in rose-grey evening While with a wingtips’ weightless sound A fine old tune, so fragile, charming Roams discreetly, almost trembling, Through the chamber She’s long perfumed. What is this sudden cradle song That gradually lulls my poor being? What do you want of me, playful one? What do you wish, slight vague burden Drifting now, dying, towards the window Opening a little on a patch of garden?” — Paul Verlaine As with his painted works, the energetic marks that make up these images are often offset by an underlying calmness alluded to in each scene. He works with simplified forms and organic gestures to create a rhythmic momentum. This rhythm invites the viewer in to rest within each proposed moment, but energetic mark-making also highlights a tension within the work. By combining busy marks with serene natural scenes, Austin is offering a truncated perspective, coupling birds in flight, that are exploring a narrative setting that can be seen both as naive and complex. The birds in the work linger in a place between longing and indifference. The tension of this contradictory state evokes a sense of resolve in the forms. Color and its metaphors are key to the mood of these works. Often the drawings allude to specific locations, hours of day, personal interactions, and universal emotions. The prints presented here, and the birds they depict, are a vessel for longing and contradiction. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582404899946-NN4NMLZ26AKYR3QLFU3Y/backofburden_web.jpg Exhibitions: Austin Eddy NY - Austin Eddy, Birds on the Back of Burden, 2019, hard ground etching, 10 x 14 inches, edition of 35 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582404994386-199GFEM5V9VVEWERZQ7J/hapenny.jpg Exhibitions: Austin Eddy NY - Austin Eddy, View from the Ha’Penny Bridge, 2020, drypoint etching, 10 x 14 inches, edition of 35 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582405018665-PM7UDO1V34H6LQ9QLD49/turtle.jpg Exhibitions: Austin Eddy NY - Austin Eddy, Turtle Dove, 2020, hard ground etching, 10 x 14 inches, edition of 35 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582405337770-DHQI6DPJLF0GVX56RLJH/lobster.jpg Exhibitions: Austin Eddy NY - Austin Eddy, Winter Loon off Lobster Landing, Spruce Head Maine, 2020, hard ground etching, 10 x 14 inches, edition of 35 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582405070187-WP1M7487GD35DWOMBU31/twobirds_big.jpg Exhibitions: Austin Eddy NY - Austin Eddy, Two Birds, 2020, drypoint etching, 10 x 14 inches, edition of 35 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582405077759-4H5K3H3G74P9B3WLKLLD/jardin.jpg Exhibitions: Austin Eddy NY - Austin Eddy, Winters Landing in Jardin des Tuileries, 2020, hard ground etching, 10 x 14 inches, edition of 35 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582405091697-XZ1TCQVOBOM2YB35K0QG/joy.jpg Exhibitions: Austin Eddy NY - Austin Eddy, The Joy of Birds in Flight, 2019, hard ground etching, 10 x 14 inches, edition of 35 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582405216011-RLY0J5ZN8BXOU9HY9KJR/floatingintime.jpg Exhibitions: Austin Eddy NY - Austin Eddy, Bird Floating in Time Between Day and Night, 2019, hard ground etching, 10 x 14 inches, edition of 35 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582410412144-J3IA6KX5BE6BEO3RGX34/painting.jpg Exhibitions: Austin Eddy NY - Austin Eddy, Night Owl, 2020, oil on canvas, 13 x 16 inches About the Artist Austin Eddy earned his BFA from The School of the Art Institute of Chicago in 2009. Since 2009 he has been exhibiting nationally and internationally. His solo shows since 2012 include a two-person exhibition at Denny Dimin Gallery in New York, Christian Berst Art Brut, New York, Bendixen Contemporary Art, Copenhagen, Denmark; The Horticultural Society, New York, The University of Kentucky Hospital, Lexington, Kentucky, Half Gallery, New York, New York; and most recently, SoCo Gallery, Charlotte, North Carolina. He has participated in group shows, at The Urban Institute of Contemporary Art, Grand Rapids, Michigan; Museum Of Contemporary Art, Atlanta, Georgia; The New Hampshire Institute of Art, Manchester, New Hampshire; Adams And Ollman, Portland, Oregon; Coburn Projects, London, Brand New Gallery; Milan, Galleri Thomassen, Goteborg, Sweden; Charlotte Fogh Gallery, Aarhus, Denmark; MOCAD, Detroit MI, Shrine Gallery, New York. About Salad Editions Salad Editions is a collaborative fine art publisher with studios in Brooklyn, NY and Providence, RI that support a wide variety of printmaking and fabrication techniques. With a focus on process-based and conceptual experimentation, Salad Editions aims to cultivate an independent, open space for emerging artists to experiment and create original works. Recent artist collaborations include Kari Cholnoky, Chip Hughes, Greg Bogin, Krzysztof Wodiczko, Jazzmen Lee-Johnson, Eva LeWitt, and others. https://www.institute193.org/off-site-way-out-there daily 0.75 2020-03-01 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583096796583-GTK4A8WQ08SPT9VFSEPK/3B7A6794+copy.JPG Off Site: Way Out There Way Out There: The Art of Southern Backroads High Museum of Art March 2 – May 19, 2019 In the early 1980s, poet Jonathan Williams invited photographers Guy Mendes and Roger Manley to hit the road “to document what tickled us, what moved us, and what (sometimes) appalled us in the Southeastern United States.” This exhibition brings to life their resulting encounters with self-taught artists who “make up beauty out of the air and out of nowhere,” such as Howard Finster, Mose Tolliver, Thornton Dial, and Mary T. Smith, along with dozens of others. Williams had intended for Mendes’s and Manley’s photographs to illustrate the poetic, often humorous reflections he compiled into a guidebook—“a true Wonder Book, a guide for a certain kind of imagination.” He titled it Walks to the Paradise Garden to honor Finster and his Edenic art environment as well as the many other artists who were “directly involved with making paradise for themselves.” For the first time, Way Out There brings together Mendes’s and Manley’s enthralling photographs, works in the High’s permanent collection by some of the artists they profiled, and excerpts from Williams’s book, which recently was published. This exhibition takes its name from a title Mendes preferred for the book, Way Out People Way Out There, which alludes to both the highly original mindsets of the featured artists as well as their geographical distance from conventional art-world capitals. Press: Walks to the Paradise Garden, A Lowdown Southern Odyssey by Richard B. Woodward, Collector Daily, July 1, 2019 Walks to the Paradise Garden by J.W. McCormack, BOMB Magazine, Summer 2019 Both Celestial and Chthonian: ‘Walks to the Paradise Garden’ Marks a Valuable Addition to the History of Self-Taught Art by Anne Doran, ARTnews, May 9, 2019 Finding Jesus On The Front Yard by Will Matsuda, Topic Magazine, April 2019 Walks to the Paradise Garden by the Editors of Raw Vision, Raw Vision, April 2019 A Love Note to the Quirky South by Edward M. Gómez, Hyperallergic, March 9, 2019 ‘Way Out People, Way Out There.’ Rediscovering the South’s Quirky Folk Artists by Tom Eblen, Lexington Herald-Leader, February 26, 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583096796583-GTK4A8WQ08SPT9VFSEPK/3B7A6794+copy.JPG Off Site: Way Out There Way Out There: The Art of Southern Backroads High Museum of Art March 2 – May 19, 2019 In the early 1980s, poet Jonathan Williams invited photographers Guy Mendes and Roger Manley to hit the road “to document what tickled us, what moved us, and what (sometimes) appalled us in the Southeastern United States.” This exhibition brings to life their resulting encounters with self-taught artists who “make up beauty out of the air and out of nowhere,” such as Howard Finster, Mose Tolliver, Thornton Dial, and Mary T. Smith, along with dozens of others. Williams had intended for Mendes’s and Manley’s photographs to illustrate the poetic, often humorous reflections he compiled into a guidebook—“a true Wonder Book, a guide for a certain kind of imagination.” He titled it Walks to the Paradise Garden to honor Finster and his Edenic art environment as well as the many other artists who were “directly involved with making paradise for themselves.” For the first time, Way Out There brings together Mendes’s and Manley’s enthralling photographs, works in the High’s permanent collection by some of the artists they profiled, and excerpts from Williams’s book, which recently was published. This exhibition takes its name from a title Mendes preferred for the book, Way Out People Way Out There, which alludes to both the highly original mindsets of the featured artists as well as their geographical distance from conventional art-world capitals. Press: Walks to the Paradise Garden, A Lowdown Southern Odyssey by Richard B. Woodward, Collector Daily, July 1, 2019 Walks to the Paradise Garden by J.W. McCormack, BOMB Magazine, Summer 2019 Both Celestial and Chthonian: ‘Walks to the Paradise Garden’ Marks a Valuable Addition to the History of Self-Taught Art by Anne Doran, ARTnews, May 9, 2019 Finding Jesus On The Front Yard by Will Matsuda, Topic Magazine, April 2019 Walks to the Paradise Garden by the Editors of Raw Vision, Raw Vision, April 2019 A Love Note to the Quirky South by Edward M. Gómez, Hyperallergic, March 9, 2019 ‘Way Out People, Way Out There.’ Rediscovering the South’s Quirky Folk Artists by Tom Eblen, Lexington Herald-Leader, February 26, 2019 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583094521866-E1RYLPM3DV50EYL10061/3B7A6792.JPG Off Site: Way Out There https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583096739244-5C9NYKNARAN7RI5KRAKI/3B7A6792+copy.JPG Off Site: Way Out There https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583096915852-F686HZOKKC6QK6PH7CUF/3B7A6801+copy.JPG Off Site: Way Out There https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583096968590-G2UW3DTX8LXB61X73RCG/3B7A6818+copy.JPG Off Site: Way Out There https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583097036765-8K47ZMAM2MDU7IU919EL/3B7A6820+copy.JPG Off Site: Way Out There https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583097084284-3EL0IHYKTRMKQ790ZOQV/3B7A6826+copy.JPG Off Site: Way Out There https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583097140062-1FHJAJ17WDLY4WNU42V5/3B7A6830+copy.JPG Off Site: Way Out There https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583097189935-IHND0C4AYJCZCBYICHI3/3B7A6837+copy.JPG Off Site: Way Out There https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583097245732-R1TJTAFXK4W0U7YAI0X8/3B7A6841+copy.JPG Off Site: Way Out There https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583097308087-FYU6BPZDILU4CO4O1JAG/3B7A6851+copy.JPG Off Site: Way Out There https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583097385128-0L6CYMF9RRFGR3MMUQII/3B7A6852+copy.JPG Off Site: Way Out There https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583097456689-PIW9UIJ40YAYY3D90OCE/3B7A6859+copy.JPG Off Site: Way Out There https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583097514215-R14ZIEFCWM3NIUH9TFF1/3B7A6866+copy.JPG Off Site: Way Out There https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583097563426-G8IZPY9HB9YS08US8STL/3B7A6868+copy.JPG Off Site: Way Out There https://www.institute193.org/exhibitions-charles-williams-ny daily 0.75 2020-09-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585330392937-2AACHZ0A59QPU3AD8WK8/Charles_Williams_Stop_Daydreaming_Hugo%252525252CThere_is_no_Such_Thing_As_A_Skylag%252525252CVikings%252525252CorFlying_Saucers%2525252Bcopy.jpg Exhibitions: Charles Williams NY - Charles Williams, Welfare, ca. 1980s, Xerox, 8.5 x 11 inches Charles Williams Cosmic Giggles March 5, 2020 – Ongoing Institute 193 (1B), New York “A cosmic cartoon collection of extraterrestrial beings visiting the Earth, and with the pollution problems, gas shortage, bad weather and with the rent going up, the Martians can’t affort to stay so there woun’t be any ‘War of the Worlds.’” — Charles Williams Beginning sometime around 1975, Charles Williams embarked on the creation of a series of drawings he referred to collectively as the Cosmic Giggles that recount the exploits and observations of Martians visiting Earth. During their travels around our world the aliens witness homelessness, racism, and other societal and environmental ills. Though some are more than passive observers on the planet, ultimately, they decide to return to their planet, as Earth was neither worth invading nor taking over. The drawings would have been extremely relevant at the time of their creation and directly mention both pop culture phenomena and larger political movements alike. He specifically references the American Bicentennial, Black Power, The Twilight Zone, Star Trek, and the Women’s Liberation Movement. Many are humorously captioned, offering witty one-liner criticisms of life on Earth. Viewed together, the drawings demonstrate Williams’ uncanny ability to address serious issues through the unlikely medium of camp science fiction. They also demonstrate how little things have changed. Williams made the Cosmic Giggles drawings with ballpoint ink pens and reproduced them as black-and-white photocopies while working at IBM. While Williams did not provide a sequence for the comics, the selection of works on view have similar themes and narrative structures. Beginning with the Martians’ initial exploration of Earth, they eventually develop a deeper understanding of and engagement with contemporary society, observing the realities of racism, sexism, and social inequality. Though these struggles persist, when the Martians pass by Earth and see a sign and a raised fist for Black Power, they and the Cosmic Giggles encourage us to laugh and “keep on pushing.” This April, Institute 193 is publishing the Cosmic Giggles, a graphic novel/comic, featuring over 100 drawings by Williams. This publication is produced in conjunction with the exhibition The Life and Death of Charles Williams at Atlanta Contemporary and an installation of select images from the Cosmic Giggles at Institute 193 (1B) in New York. Click here to order Cosmic Giggles. Press: Local Exhibit Highlights Work of Self-Taught Southern Artist by Felicia Feaster, Atlanta Journal-Constitution, July 9, 2020 The Plot That Soul Built by Logan Lockner, Burnaway, July 30, 2020 A Soaring Visionary of Afrofuturism and Black Power, by Edward M. Gómez, Hyperallergic, March 28, 2020 Hard-Hitting Humour by Edward M. Gómez, Raw Vision, March 2020 Review: Contemporary’s “Charles Williams” Tells Story of Pencils, Empowerment, Despair by David S. Cohen, ARTS ATL, February 26, 2020 Atlanta Contemporary Displays Works of Charles Williams, An Artist with Many Styles by Ryan McFadin, WABE, January 30, 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585330392937-2AACHZ0A59QPU3AD8WK8/Charles_Williams_Stop_Daydreaming_Hugo%252525252CThere_is_no_Such_Thing_As_A_Skylag%252525252CVikings%252525252CorFlying_Saucers%2525252Bcopy.jpg Exhibitions: Charles Williams NY - Charles Williams, Welfare, ca. 1980s, Xerox, 8.5 x 11 inches Charles Williams Cosmic Giggles March 5, 2020 – Ongoing Institute 193 (1B), New York “A cosmic cartoon collection of extraterrestrial beings visiting the Earth, and with the pollution problems, gas shortage, bad weather and with the rent going up, the Martians can’t affort to stay so there woun’t be any ‘War of the Worlds.’” — Charles Williams Beginning sometime around 1975, Charles Williams embarked on the creation of a series of drawings he referred to collectively as the Cosmic Giggles that recount the exploits and observations of Martians visiting Earth. During their travels around our world the aliens witness homelessness, racism, and other societal and environmental ills. Though some are more than passive observers on the planet, ultimately, they decide to return to their planet, as Earth was neither worth invading nor taking over. The drawings would have been extremely relevant at the time of their creation and directly mention both pop culture phenomena and larger political movements alike. He specifically references the American Bicentennial, Black Power, The Twilight Zone, Star Trek, and the Women’s Liberation Movement. Many are humorously captioned, offering witty one-liner criticisms of life on Earth. Viewed together, the drawings demonstrate Williams’ uncanny ability to address serious issues through the unlikely medium of camp science fiction. They also demonstrate how little things have changed. Williams made the Cosmic Giggles drawings with ballpoint ink pens and reproduced them as black-and-white photocopies while working at IBM. While Williams did not provide a sequence for the comics, the selection of works on view have similar themes and narrative structures. Beginning with the Martians’ initial exploration of Earth, they eventually develop a deeper understanding of and engagement with contemporary society, observing the realities of racism, sexism, and social inequality. Though these struggles persist, when the Martians pass by Earth and see a sign and a raised fist for Black Power, they and the Cosmic Giggles encourage us to laugh and “keep on pushing.” This April, Institute 193 is publishing the Cosmic Giggles, a graphic novel/comic, featuring over 100 drawings by Williams. This publication is produced in conjunction with the exhibition The Life and Death of Charles Williams at Atlanta Contemporary and an installation of select images from the Cosmic Giggles at Institute 193 (1B) in New York. Click here to order Cosmic Giggles. Press: Local Exhibit Highlights Work of Self-Taught Southern Artist by Felicia Feaster, Atlanta Journal-Constitution, July 9, 2020 The Plot That Soul Built by Logan Lockner, Burnaway, July 30, 2020 A Soaring Visionary of Afrofuturism and Black Power, by Edward M. Gómez, Hyperallergic, March 28, 2020 Hard-Hitting Humour by Edward M. Gómez, Raw Vision, March 2020 Review: Contemporary’s “Charles Williams” Tells Story of Pencils, Empowerment, Despair by David S. Cohen, ARTS ATL, February 26, 2020 Atlanta Contemporary Displays Works of Charles Williams, An Artist with Many Styles by Ryan McFadin, WABE, January 30, 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585331151325-I2XEDWTU49ULUV44ZOUX/10+Charles_Williams_Stop_Daydreaming_Hugo%2CThere_is_no_Such_Thing_As_A_Skylag%2CVikings%2CorFlying_Saucers.jpg Exhibitions: Charles Williams NY - Charles Williams, Stop Daydreaming Hugo, There Is No Such Thing As a Skylag, Vikings, or Flying Saucers, ca. 1980s, Xerox, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585331158723-D9M83S2D4LYV1T0QEWMN/12+Charles_Williams_First_Of_All_There_is_no_life_on_earth.jpg Exhibitions: Charles Williams NY - Charles Williams, First of All There Is No Life on Earth, ca. 1980s, Xerox, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585331165914-SG6ZCJH3N1HGQI0V1RB8/15+Charles_Williams_Let%27s_Get_Out_of_Here.You_Know.Where_There%27s_Smoke.Fire_is_Sure_to_Follow.jpg Exhibitions: Charles Williams NY - Charles Williams, Let’s Get Out of Here. You Know. Where There’s Smoke. Fire Is Sure to Follow, ca. 1980s, Xerox, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585331181647-ZN24KY55EOV5LTORW9XF/20+Charles_Williams_Class%21_You_Are_Now_Witnessing_A_First_Hand_Example_of_Infalation.jpg Exhibitions: Charles Williams NY - Charles Williams, Class! You Are Now Witnessing a First Hand Example of Inflation, ca. 1980s, Xerox, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585331191312-MV7LTPPCREE8UEQCQ5XP/25+Charles_Williams_What%27s_The_Best_Thing_On_The_Market_For_A_Hangover_.jpg Exhibitions: Charles Williams NY - Charles Williams, What’s the Best Thing on the Market for a Hangover, ca. 1980s, Xerox, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585331207378-R646HYD3UN8FU0ZYKUSV/42+Charles_Williams_We_Better_Keep_on_Pushing.jpg Exhibitions: Charles Williams NY - Charles Williams, We Better Keep on Pushing, ca. 1980s, Xerox, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585331215880-1KRSRI30AE4N7C7045CA/43+Charles_Williams_Untitled_MARSS_WOMEN.jpg Exhibitions: Charles Williams NY - Charles Williams, Untitled, ca. 1980s, Xerox, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583447760063-H7ZS2N9MWTG479FHLQJB/C_WILLIAMS_SEQUENCE.jpg Exhibitions: Charles Williams NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583707269369-VV68G9D19VX1TEFYXT2E/Charles_Williams_Stop_Daydreaming_Hugo%25252CThere_is_no_Such_Thing_As_A_Skylag%25252CVikings%25252CorFlying_Saucers%252Bcopy.jpg Exhibitions: Charles Williams NY - Charles Williams, Stop Daydreaming Hugo, There is No Such Thing as Skylag, Vikings, or Flying Saucers (detail), ca. 1980s, Xerox, 8.5 x 11 inches https://www.institute193.org/exhibitions-ed-mcclanahan-ky daily 0.75 2020-08-26 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1586975938545-I5N1REXMAOBGTYX0XJPW/IMG_1.jpg Exhibitions: Ed McClanahan KY - Ed McClanahan, Untitled, 1965, permanent marker on paper, 10.5 x 8.5 inches Ed McClanahan Out of Hand April 16 – June 5, 2020 Institute 193, Lexington Throughout history, artists have used our collective fascination with hands to tell the larger stories of their lives and ours. In the 18th century, Anthony Van Dyck painted subdued self-portraits showing his delicate, elongated fingers resting on his shoulder to show potential patrons how much he values his hands, the tools of his trade. In 1919 Alfred Stieglitz created an entire series focusing just on Georgia O’Keeffe’s hands. One photograph in particular shows a hand placed on her bare breasts; turning what would have been considered an erotic photo into an intimate one. And in 1965, Ed McClanahan, then a burgeoning writer now known for his witty and colorful storytelling, created a series of thirteen drawings of hands as comical and strange portraits. This series of drawings, dubbed McClanahands by their creator, explore an odd and varied spectrum of human emotion—each sporting its own expression and personality. One appears to be daydreaming, fingers positioned in a pose of meditation with eyes closed and mouth upturned in a slight smile. Another shows frustration, its face scrunched with anxiety, holding a stick of dynamite, its fist ready to explode. Others are smoking cigarettes, trying to hitchhike to Tijuana, or flipping the middle finger at onlookers. As a writer, McClanahan focused on hands because they are the vehicle for his writing. He unconsciously chose to draw hands at a time when Americans’ freedom was in the forefront of people’s minds, much as it is again today. Out of Hand is the the first exhibition to focus on Ed McClanahan’s work as a visual artist. In 1962 McClanahan received Stanford University’s Wallace Stegner Fellowship for Creative Writing, after which he was selected for a Jones Lectureship where he taught creative writing until 1972. During his time at Stanford, he befriended Ken Kesey, American novelist and author of One Flew Over the Cuckoo’s Nest. Kesey, together with a number of other notable writers and artists, formed the Merry Pranksters, a group famously known for their journey across the United States to promote American ideals of freedom through LSD. These thirteen drawings, affectionately titled Ten Schizophrenic Drawings, were made while the artists was living in northern California amongst Kesey and the Merry Pranksters. McClanahan has been widely published with stories appearing in Playboy, Esquire, and Rolling Stone among many others. Between 1975 and the present, Ed has written 12 books, including The Natural Man in 1983, and Famous People I Have Known in 1985. He lives in Lexington, Kentucky. Press: Local Luminaries: Ed McClanahan, by Celeste Lewis, Smiley Pete Publishing, March 25, 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1586975938545-I5N1REXMAOBGTYX0XJPW/IMG_1.jpg Exhibitions: Ed McClanahan KY - Ed McClanahan, Untitled, 1965, permanent marker on paper, 10.5 x 8.5 inches Ed McClanahan Out of Hand April 16 – June 5, 2020 Institute 193, Lexington Throughout history, artists have used our collective fascination with hands to tell the larger stories of their lives and ours. In the 18th century, Anthony Van Dyck painted subdued self-portraits showing his delicate, elongated fingers resting on his shoulder to show potential patrons how much he values his hands, the tools of his trade. In 1919 Alfred Stieglitz created an entire series focusing just on Georgia O’Keeffe’s hands. One photograph in particular shows a hand placed on her bare breasts; turning what would have been considered an erotic photo into an intimate one. And in 1965, Ed McClanahan, then a burgeoning writer now known for his witty and colorful storytelling, created a series of thirteen drawings of hands as comical and strange portraits. This series of drawings, dubbed McClanahands by their creator, explore an odd and varied spectrum of human emotion—each sporting its own expression and personality. One appears to be daydreaming, fingers positioned in a pose of meditation with eyes closed and mouth upturned in a slight smile. Another shows frustration, its face scrunched with anxiety, holding a stick of dynamite, its fist ready to explode. Others are smoking cigarettes, trying to hitchhike to Tijuana, or flipping the middle finger at onlookers. As a writer, McClanahan focused on hands because they are the vehicle for his writing. He unconsciously chose to draw hands at a time when Americans’ freedom was in the forefront of people’s minds, much as it is again today. Out of Hand is the the first exhibition to focus on Ed McClanahan’s work as a visual artist. In 1962 McClanahan received Stanford University’s Wallace Stegner Fellowship for Creative Writing, after which he was selected for a Jones Lectureship where he taught creative writing until 1972. During his time at Stanford, he befriended Ken Kesey, American novelist and author of One Flew Over the Cuckoo’s Nest. Kesey, together with a number of other notable writers and artists, formed the Merry Pranksters, a group famously known for their journey across the United States to promote American ideals of freedom through LSD. These thirteen drawings, affectionately titled Ten Schizophrenic Drawings, were made while the artists was living in northern California amongst Kesey and the Merry Pranksters. McClanahan has been widely published with stories appearing in Playboy, Esquire, and Rolling Stone among many others. Between 1975 and the present, Ed has written 12 books, including The Natural Man in 1983, and Famous People I Have Known in 1985. He lives in Lexington, Kentucky. Press: Local Luminaries: Ed McClanahan, by Celeste Lewis, Smiley Pete Publishing, March 25, 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587007615884-WPLZTDWVFVQQVP2ASARH/IMG_2.jpg Exhibitions: Ed McClanahan KY - Ed McClanahan, Untitled, 1965, permanent marker on paper, 10.5 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587008237470-9FUEN1HJ0YUMZ4LEL5WP/IMG_3.jpg Exhibitions: Ed McClanahan KY - Ed McClanahan, Untitled, 1965, permanent marker on paper, 11.25 x 8.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587008922868-L0LR6WG5NG9GAODUKC7L/IMG_4.jpg Exhibitions: Ed McClanahan KY - Ed McClanahan, Untitled, 1965, permanent marker on paper, 11.25 x 8.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587038993958-AUPH3DZUZL3BDBOXYK6S/IMG_5.jpg Exhibitions: Ed McClanahan KY - Ed McClanahan, Untitled, 1965, permanent marker on paper, 11.25 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587039673105-H6HGFR0XMQIG5VI6POI2/IMG_6.jpg Exhibitions: Ed McClanahan KY - Ed McClanahan, Untitled, 1965, permanent marker on paper, 11 x 8.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587039769109-O8B3BEC3GV3000VWS233/IMG_7.jpg Exhibitions: Ed McClanahan KY - Ed McClanahan, Untitled, 1965, permanent marker on paper, 11 x 8.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587040401782-8OGBYGLIV931UUGMU7EB/IMG_8.jpg Exhibitions: Ed McClanahan KY - Ed McClanahan, Untitled, 1965, permanent marker on paper, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587140147666-1MLW2QCTB4PLBGGCPC6Q/IMG_9.jpg Exhibitions: Ed McClanahan KY - Ed McClanahan, Untitled, 1965, permanent marker on paper, 11 x 8.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587041053215-4PIAJR7V3CMOQRDL9F58/IMG_10.jpg Exhibitions: Ed McClanahan KY - Ed McClanahan, Untitled, 1965, permanent marker on paper, 11 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587041093004-5R6ZV8AACPSA2TEO1KAM/IMG_11.jpg Exhibitions: Ed McClanahan KY - Ed McClanahan, Untitled, 1965, permanent marker on paper, 11 x 8.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587041137160-U863W2YJAGTZ6KQDS4CG/IMG_12.jpg Exhibitions: Ed McClanahan KY - Ed McClanahan, Untitled, 1965, permanent marker on paper, 11.25 x 8.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587041636103-CFL6JM1DZSL1LN0AY246/IMG_13.jpg Exhibitions: Ed McClanahan KY - Ed McClanahan, Untitled, 1965, permanent marker on paper, 11.25 x 8.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587567764794-0V8AIBO7FY96PCQTC548/image-asset.jpeg Exhibitions: Ed McClanahan KY - Installation View https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587567872449-4EHRYG82UUX8B5SGETWY/DSC_1492.jpg Exhibitions: Ed McClanahan KY - Installation View https://www.institute193.org/institute-193-modified daily 0.75 2020-06-03 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587053751790-6IXW3DLEVSK3H3TP2U89/193modified.jpg Institute 193 Modified UPDATE: Institute 193 Modified In response to current events surrounding COVID-19, Institute 193 has made some changes to how regular gallery operations are run. Since Governor Beshear's announcement on the opening of nonessential businesses, we will be opening our doors during regular gallery hours again beginning Wednesday, June 3rd, following some slightly different guidelines: No more than five visitors will be permitted in the gallery at one time. All visitors and employees must wear masks while inside the gallery. Hand sanitizer and a restroom for handwashing will be provided for anyone that wishes to use it. We look forward to opening Institute 193 again with no restrictions, and this is a step in the right direction. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1587053751790-6IXW3DLEVSK3H3TP2U89/193modified.jpg Institute 193 Modified UPDATE: Institute 193 Modified In response to current events surrounding COVID-19, Institute 193 has made some changes to how regular gallery operations are run. Since Governor Beshear's announcement on the opening of nonessential businesses, we will be opening our doors during regular gallery hours again beginning Wednesday, June 3rd, following some slightly different guidelines: No more than five visitors will be permitted in the gallery at one time. All visitors and employees must wear masks while inside the gallery. Hand sanitizer and a restroom for handwashing will be provided for anyone that wishes to use it. We look forward to opening Institute 193 again with no restrictions, and this is a step in the right direction. https://www.institute193.org/exhibitions-joe-light-ky daily 0.75 2020-10-06 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1591722477371-P5475TZ07KW6NFWJ5555/JL_Hobo_Birdman_764.jpg Exhibitions: Joe Light KY - Joe Light, Hobo # Birdman, 1988, place mats, glass, enamel, and spray paint on plywood, 48 x 96 inches, permanent collection of the Metropolitan Museum of Art, 2014.548.20 Joe Light Hobo # Birdman June 11 - August 1, 2020 Institute 193, Lexington In 1988, Joe Light attached two plastic placemats—one featuring an image of the U.S. Capitol, the other, a quaint scene of people ice-skating on a frozen pond—to a sheet of plywood, forever positioning the cheap reproductions between the painted renderings of his archetypal characters: Hobo and Birdman. The assemblage, titled Hobo # Birdman, is now in the collection of the Metropolitan Museum of Art, a fitting home for a painting that serves as Rosetta Stone for Light’s philosophy. The didactic large-format illustration can be read like a sentence from left to right: the Hobo, traveling with his worldly possessions contained in a small knapsack, is forced to navigate both nature and the structures of society in order to achieve enlightenment, personified by the Birdman. It is the perfect summary for Light’s life as both vagabond and unlikely prophet of a generation forced to reckon with the profound paradoxes of both secular and sacred African American responses to centuries of psychological and economic subjugation. Joe Light’s life and work were characterized by a fundamental need to communicate. After his release from prison in 1966 and a self-proclaimed conversion to Judaism, Light began writing divinely-inspired messages on sidewalks, overpasses, and concrete walls around Memphis—a blending of graffiti, evangelism, and proclamation of his newfound faith. In the early 1970s, Light’s writings took the form of painted signs hung in the yard of his home. Soon thereafter, he began painting the house itself, beginning with the shutters. Those earliest images of flowers and hobos evolved into a slew of characters and images that populate his later works, but the Hobo and Birdman maintain a position of privilege within the artist’s visual hierarchy. Their position of dominance is simply stated by the artist: “Hobo and Birdman are my reality.” The Hobo represents humanity at the beginning of life’s journey. Painted in multiple colors over time, the figure depicts not one, but all races, referring not only to the artist’s multi-cultural heritage but to the diversity of the human race. He most often appears lost in nature, surrounded by rivers, flowers, and mountain ranges, scenes replete with both beauty and potential danger. Birdman, the antithesis of the Hobo, is the visual manifestation of nirvana, an image forged from an experience Light had in prison. Alone in his cell, Light heard a voice and addressed it directly: "If you're God, prove it." He said, "Step up to the cell door and I'm going to let a bird land on that windowsill, and you take control of him. Tell it what to do and it will do it." And sure enough the bird landed on it. This moment proved to be both spiritually formative and visually inspiring for Light, fodder for hundreds of thematic works. Together and separately, the Hobo and Birdman offer both the artist and viewer a path toward salvation and personal transformation amidst the chaos of nature and the rigidity of society. Joe Light passed away in 2005. To our knowledge, Hobo # Birdman is the first solo exhibition devoted to his work. Nonetheless, Light’s works are in the collections of the Ackland Art Museum (North Carolina), Crystal Bridges Museum of American Art (Arkansas), Fine Arts Museum of San Francisco, High Museum of Art (Atlanta), Metropolitan Museum of Art, and the New Orleans Museum of Art. For more information and to read a complete biography, click here. This exhibition is organized in collaboration with the Arnett Collection (Atlanta, GA). Press: Joe Light, by Ashton Cooper, ARTFORUM, October/November 2020 print edition Joe Light at Institute 193, by Dmitry Strakovsky, Under Main, July 19, 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1591722477371-P5475TZ07KW6NFWJ5555/JL_Hobo_Birdman_764.jpg Exhibitions: Joe Light KY - Joe Light, Hobo # Birdman, 1988, place mats, glass, enamel, and spray paint on plywood, 48 x 96 inches, permanent collection of the Metropolitan Museum of Art, 2014.548.20 Joe Light Hobo # Birdman June 11 - August 1, 2020 Institute 193, Lexington In 1988, Joe Light attached two plastic placemats—one featuring an image of the U.S. Capitol, the other, a quaint scene of people ice-skating on a frozen pond—to a sheet of plywood, forever positioning the cheap reproductions between the painted renderings of his archetypal characters: Hobo and Birdman. The assemblage, titled Hobo # Birdman, is now in the collection of the Metropolitan Museum of Art, a fitting home for a painting that serves as Rosetta Stone for Light’s philosophy. The didactic large-format illustration can be read like a sentence from left to right: the Hobo, traveling with his worldly possessions contained in a small knapsack, is forced to navigate both nature and the structures of society in order to achieve enlightenment, personified by the Birdman. It is the perfect summary for Light’s life as both vagabond and unlikely prophet of a generation forced to reckon with the profound paradoxes of both secular and sacred African American responses to centuries of psychological and economic subjugation. Joe Light’s life and work were characterized by a fundamental need to communicate. After his release from prison in 1966 and a self-proclaimed conversion to Judaism, Light began writing divinely-inspired messages on sidewalks, overpasses, and concrete walls around Memphis—a blending of graffiti, evangelism, and proclamation of his newfound faith. In the early 1970s, Light’s writings took the form of painted signs hung in the yard of his home. Soon thereafter, he began painting the house itself, beginning with the shutters. Those earliest images of flowers and hobos evolved into a slew of characters and images that populate his later works, but the Hobo and Birdman maintain a position of privilege within the artist’s visual hierarchy. Their position of dominance is simply stated by the artist: “Hobo and Birdman are my reality.” The Hobo represents humanity at the beginning of life’s journey. Painted in multiple colors over time, the figure depicts not one, but all races, referring not only to the artist’s multi-cultural heritage but to the diversity of the human race. He most often appears lost in nature, surrounded by rivers, flowers, and mountain ranges, scenes replete with both beauty and potential danger. Birdman, the antithesis of the Hobo, is the visual manifestation of nirvana, an image forged from an experience Light had in prison. Alone in his cell, Light heard a voice and addressed it directly: "If you're God, prove it." He said, "Step up to the cell door and I'm going to let a bird land on that windowsill, and you take control of him. Tell it what to do and it will do it." And sure enough the bird landed on it. This moment proved to be both spiritually formative and visually inspiring for Light, fodder for hundreds of thematic works. Together and separately, the Hobo and Birdman offer both the artist and viewer a path toward salvation and personal transformation amidst the chaos of nature and the rigidity of society. Joe Light passed away in 2005. To our knowledge, Hobo # Birdman is the first solo exhibition devoted to his work. Nonetheless, Light’s works are in the collections of the Ackland Art Museum (North Carolina), Crystal Bridges Museum of American Art (Arkansas), Fine Arts Museum of San Francisco, High Museum of Art (Atlanta), Metropolitan Museum of Art, and the New Orleans Museum of Art. For more information and to read a complete biography, click here. This exhibition is organized in collaboration with the Arnett Collection (Atlanta, GA). Press: Joe Light, by Ashton Cooper, ARTFORUM, October/November 2020 print edition Joe Light at Institute 193, by Dmitry Strakovsky, Under Main, July 19, 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1591722666707-2WYPDTYIIK2H83TX3T9E/JL_Hobo_Birdman_764.jpg Exhibitions: Joe Light KY - Joe Light, Hobo # Birdman, 1988, place mats, glass, enamel, and spray paint on plywood, 48 x 96 inches, permanent collection of the Metropolitan Museum of Art, 2014.548.20 Joe Light Hobo # Birdman June 11 - July 31, 2020 Institute 193, Lexington In 1988, Joe Light attached two plastic placemats—one featuring an image of the U.S. Capitol, the other, a quaint scene of people ice-skating on a frozen pond—to a sheet of plywood, forever positioning the cheap reproductions between the painted renderings of his archetypal characters: Hobo and Birdman. The assemblage, titled Hobo # Birdman, is now in the collection of the Metropolitan Museum of Art, a fitting home for a painting that serves as Rosetta Stone for Light’s philosophy. The didactic large-format illustration can be read like a sentence from left to right: the Hobo, traveling with his worldly possessions contained in a small knapsack, is forced to navigate both nature and the structures of society in order to achieve enlightenment, personified by the Birdman. It is the perfect summary for Light’s life as both vagabond and unlikely prophet of a generation forced to reckon with the profound paradoxes of both secular and sacred African American responses to centuries of psychological and economic subjugation. Joe Light’s life and work were characterized by a fundamental need to communicate. After his release from prison in 1966 and a self-proclaimed conversion to Judaism, Light began writing divinely-inspired messages on sidewalks, overpasses, and concrete walls around Memphis—a blending of graffiti, evangelism, and proclamation of his newfound faith. In the early 1970s, Light’s writings took the form of painted signs hung in the yard of his home. Soon thereafter, he began painting the house itself, beginning with the shutters. Those earliest images of flowers and hobos evolved into a slew of characters and images that populate his later works, but the Hobo and Birdman maintain a position of privilege within the artist’s visual hierarchy. Their position of dominance is simply stated by the artist: “Hobo and Birdman are my reality.” The Hobo represents humanity at the beginning of life’s journey. Painted in multiple colors over time, the figure depicts not one, but all races, referring not only to the artist’s multi-cultural heritage but to the diversity of the human race. He most often appears lost in nature, surrounded by rivers, flowers, and mountain ranges, scenes replete with both beauty and potential danger. Birdman, the antithesis of the Hobo, is the visual manifestation of nirvana, an image forged from an experience Light had in prison. Alone in his cell, Light heard a voice and addressed it directly: "If you're God, prove it." He said, "Step up to the cell door and I'm going to let a bird land on that windowsill, and you take control of him. Tell it what to do and it will do it." And sure enough the bird landed on it. This moment proved to be both spiritually formative and visually inspiring for Light, fodder for hundreds of thematic works. Together and separately, the Hobo and Birdman offer both the artist and viewer a path toward salvation and personal transformation amidst the chaos of nature and the rigidity of society. Joe Light passed away in 2005. To our knowledge, Hobo # Birdman is the first solo exhibition devoted to his work. Nonetheless, Light’s works are in the collections of the Ackland Art Museum (North Carolina), Crystal Bridges Museum of American Art (Arkansas), Fine Arts Museum of San Francisco, High Museum of Art (Atlanta), Metropolitan Museum of Art, and the New Orleans Museum of Art. For more information and to read a complete biography, click here. This exhibition is organized in collaboration with the Arnett Collection (Atlanta, GA). https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1591899500992-CDLXY4KHFNE2T2ZYAT4Y/JoeLight.jpg Exhibitions: Joe Light KY - Joe Light, Joe Light, 1980s, house paint on plywood, 22 x 13.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1591899528130-6KJSKCXOPA8LNMQGWLXF/WanderingHobo.jpg Exhibitions: Joe Light KY - Joe Light, Wandering Hobo, 1980s, house paint on plywood, 35 x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1591718233500-6Z3IK3OVAZ60HQTFDXCR/JL_Hobo_Birdman_764.jpg Exhibitions: Joe Light KY - Joe Light, Hobo # Birdman, 1988, place mats, glass, enamel, and spray paint on plywood, 48 x 96 inches, permanent collection of the Metropolitan Museum of Art, 2014.548.20 Joe Light Hobo # Birdman June 11 - July 31, 2020 Institute 193, Lexington In 1988, Joe Light attached two plastic placemats—one featuring an image of the U.S. Capitol, the other, a quaint scene of people ice-skating on a frozen pond—to a sheet of plywood, forever positioning the cheap reproductions between the painted renderings of his archetypal characters: Hobo and Birdman. The assemblage, titled Hobo # Birdman, is now in the collection of the Metropolitan Museum of Art, a fitting home for a painting that serves as Rosetta Stone for Light’s philosophy. The didactic large-format illustration can be read like a sentence from left to right: the Hobo, travelling with his worldly possessions contained in a small knapsack, is forced to navigate both nature and the structures of society in order to achieve enlightenment, personified by the Birdman. It is the perfect summary for Light’s life as both vagabond and unlikely prophet of a generation forced to reckon with the profound paradoxes of both secular and sacred African American responses to centuries of psychological and economic subjugation. Joe Light’s life and work were characterized by a fundamental need to communicate. After his release from prison in 1966 and a self-proclaimed conversion to Judaism, Light began writing divinely-inspired messages on sidewalks, overpasses, and concrete walls around Memphis—a blending of graffiti, evangelism, and proclamation of his newfound faith. In the early 1970s, Light’s writings took the form of painted signs hung in the yard of his home. Soon thereafter, he began painting the house itself, beginning with the shutters. Those earliest images of flowers and hobos evolved into a slew of characters and images that populate his later works, but the Hobo and Birdman maintain a position of privilege within the artist’s visual hierarchy. Their position of dominance is simply stated by the artist: “Hobo and Birdman are my reality.” The Hobo represents humanity at the beginning of life’s journey. Painted in multiple colors over time, the figure depicts not one, but all races, referring not only to the artist’s multi-cultural heritage but to the diversity of the human race. He most often appears lost in nature, surrounded by rivers, flowers, and mountain ranges, scenes replete with both beauty and potential danger. Birdman, the antithesis of the Hobo, is the visual manifestation of nirvana, an image forged from an experience Light had in prison. Alone in his cell, Light heard a voice and addressed it directly: "If you're God, prove it." He said, "Step up to the cell door and I'm going to let a bird land on that windowsill, and you take control of him. Tell it what to do and it will do it." And sure enough, the bird landed on it. This moment proved to be both spiritually formative and visually inspiring for Light, fodder for hundreds of thematic works. Together and separately, the Hobo and Birdman offer both the artist and viewer a path toward salvation and personal transformation amidst the chaos of nature and the rigidity of society. Joe Light passed away in 2005. To our knowledge, Hobo # Birdman is the first solo exhibition devoted to his work. Nonetheless, Light’s works are in the collections of the Ackland Art Museum (North Carolina), Crystal Bridges Museum of American Art (Arkansas), Fine Arts Museum of San Francisco, High Museum of Art (Atlanta), Metropolitan Museum of Art, and the New Orleans Museum of Art. For more information and to read a complete biography, click here. This exhibition is organized in collaboration with the Arnett Collection (Atlanta, GA). https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1591899547297-WR0OIO26M8UMSAKLCILY/Kiera.jpg Exhibitions: Joe Light KY - Joe Light, Kiera, 1980s, house paint on plywood, 20.5 x 40 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1591976168653-G3BZBU9RVC8QC1W47C2Y/Invisible.jpg Exhibitions: Joe Light KY - Joe Light, Invisible, 1980s, house paint and spray paint on plywood, 48 x 15.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1591976335395-MMAEZVH0NSEV95DGHLHX/Reversible.jpg Exhibitions: Joe Light KY - Joe Light, Reversible, 1980s, house paint and spray paint on plywood, 48 x 15 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1591899568791-MI5MNQ6EG0R5M4CU6974/BirdmanTriptych.jpg Exhibitions: Joe Light KY - Joe Light, Birdman #1, Birdman #2, Birdman B, 1980s, house paint on wood, 25.5 x 7.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1591899589183-JO5BY7KLKKTE7MCYHMUT/VaginaFlower.jpg Exhibitions: Joe Light KY - Joe Light, Vagina Flower, 1980s, house paint on wood, 19 x 15.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1591976475296-ETCW8QGDY61ECF76ZTSE/Untitled.jpg Exhibitions: Joe Light KY - Joe Light, Untitled, 1980s, house paint on plywood, 19.5 x 30.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1592415768665-VWGLZX42VU7ZHGDP74M1/DSC_1558.jpg Exhibitions: Joe Light KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1592414330854-3JWOJG985TRZ00Z3PQWI/DSC_1555.jpg Exhibitions: Joe Light KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1592414815692-HM9948SRTC5HYJN6XNU0/DSC_1546.jpg Exhibitions: Joe Light KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1592414955268-RUMQ22SFJH2AJB2NVRHC/DSC_1545.jpg Exhibitions: Joe Light KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1592415829614-2MO5A4D0H0SDN82Q173W/DSC_1547.jpg Exhibitions: Joe Light KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1592415852186-LY210IYJLCQ8VBY84BF8/DSC_1556.jpg Exhibitions: Joe Light KY - Installation view https://www.institute193.org/off-site-where-paradise-lay daily 0.75 2020-07-02 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1592072397178-P8CU8710G1OH1M3LLYYM/Screen+Shot+2020-06-13+at+2.09.58+PM.png Off Site: Where Paradise Lay - Roger Manley, Laura Pope Forrester's Garden, Ochlocknee, GA, 1985 Where Paradise Lay Art and Southern Sanctuary KMAC June 19 - November 8, 2020 Where Paradise Lay is an exhibition that takes inspiration from the book "Walks to the Paradise Garden," written by the poet, founder of the Jargon Society, and Black Mountain College alum, Jonathan Williams. Nearly thirty years after its completion in 1992, Institute 193 in Lexington, Kentucky published the text and images that chronicled Williams’ periodic journeys in the 1980s and early 90s with photographers Guy Mendes and Roger Manley as they searched for artists who, in Williams’ words, “live on the heath, amid the rhododendron and laurel and heather and sand myrtle—just like me.” The chronicle focused on a region “between Virginia and Louisiana, from the Ohio River to the Everglades.” Dozens of the artists profiled and documented during their trips have since been acquired by multiple U.S. institutions that include KMAC Museum, as well as the Metropolitan Museum in New York, the Smithsonian, and the High Museum in Atlanta. The High Museum adapted the Williams manuscript into an exhibition entitled Way Out There: The Art of Southern Backroads in early 2019 on the occasion of the first publication of Walks to the Paradise Garden, borrowing Mendes’ proposed, but rejected, title for the manuscript, "Way Out People Way Out There". Due to the great efforts of advocates like former University of Kentucky art professor Michael Hall, who worked to include the Kentucky woodcarver Edgar Tolson in the 1973 Whitney Biennial, and New Museum founder Marcia Tucker, who included Howard Finster from Georgia in her exhibition for the American Pavilion at the 41st Venice Biennale in 1984, considerable attention had begun to be paid to these difficult to classify artists, despite their having been folded into the labels folk artist, outsider, self-taught, or visionary artist, a collection of terms intended to differentiate them from artists who were “trained” within an international system of university art programs. It was during this period that KMAC Museum itself was founded in 1981, originally as the Kentucky Art and Craft Foundation, exhibiting traditional craft and folk artists from the region. A year later Jane Livingston and John Beardsley organized the seminal exhibition Black Folk Art in America, 1930-1980 at the Corcoran Gallery in Washington D.C. Two years after that, in 1984, Jonathan Williams made the first trip documented in the book. The 1970s and 80s were a fertile period when curators, writers, photographers and collectors like William Arnett were championing and exposing the exuberant, previously unheralded work that was being made by unknown artists throughout the American Southeast. As younger generations continue to synthesize the techniques and aesthetics displayed in the work of these artists, historians are more openly discussing the social and economic reasons for their remaining unknown for so long in the first place. Where Paradise Lay looks at the late 20th-century intrigue that flourished around this region, revisiting this museum’s own legacy in the history of collecting and exhibiting work from those who are, as Williams writes, “directly involved with making a paradise for themselves in the front yard, the back garden, the parlor, the sun porch, the basement.” KMAC Museum is now at the center of a discourse in contemporary art that places these artists in context with an increasingly global contemporary culture that looks to the Southern U.S. for inspiration. KMAC’s exhibition will reveal how artists, like those featured in the book "Walks to the Paradise Garden" - Howard Finster, Mary T. Smith, Thornton Dial, Ralph Griffin, Martha Nelson Thomas, Eddie Owens Martin, Edgar Tolson, and others - have helped to construct America’s artistic and cultural roots, shaping our country’s collective visual identity. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1592072397178-P8CU8710G1OH1M3LLYYM/Screen+Shot+2020-06-13+at+2.09.58+PM.png Off Site: Where Paradise Lay - Roger Manley, Laura Pope Forrester's Garden, Ochlocknee, GA, 1985 Where Paradise Lay Art and Southern Sanctuary KMAC June 19 - November 8, 2020 Where Paradise Lay is an exhibition that takes inspiration from the book "Walks to the Paradise Garden," written by the poet, founder of the Jargon Society, and Black Mountain College alum, Jonathan Williams. Nearly thirty years after its completion in 1992, Institute 193 in Lexington, Kentucky published the text and images that chronicled Williams’ periodic journeys in the 1980s and early 90s with photographers Guy Mendes and Roger Manley as they searched for artists who, in Williams’ words, “live on the heath, amid the rhododendron and laurel and heather and sand myrtle—just like me.” The chronicle focused on a region “between Virginia and Louisiana, from the Ohio River to the Everglades.” Dozens of the artists profiled and documented during their trips have since been acquired by multiple U.S. institutions that include KMAC Museum, as well as the Metropolitan Museum in New York, the Smithsonian, and the High Museum in Atlanta. The High Museum adapted the Williams manuscript into an exhibition entitled Way Out There: The Art of Southern Backroads in early 2019 on the occasion of the first publication of Walks to the Paradise Garden, borrowing Mendes’ proposed, but rejected, title for the manuscript, "Way Out People Way Out There". Due to the great efforts of advocates like former University of Kentucky art professor Michael Hall, who worked to include the Kentucky woodcarver Edgar Tolson in the 1973 Whitney Biennial, and New Museum founder Marcia Tucker, who included Howard Finster from Georgia in her exhibition for the American Pavilion at the 41st Venice Biennale in 1984, considerable attention had begun to be paid to these difficult to classify artists, despite their having been folded into the labels folk artist, outsider, self-taught, or visionary artist, a collection of terms intended to differentiate them from artists who were “trained” within an international system of university art programs. It was during this period that KMAC Museum itself was founded in 1981, originally as the Kentucky Art and Craft Foundation, exhibiting traditional craft and folk artists from the region. A year later Jane Livingston and John Beardsley organized the seminal exhibition Black Folk Art in America, 1930-1980 at the Corcoran Gallery in Washington D.C. Two years after that, in 1984, Jonathan Williams made the first trip documented in the book. The 1970s and 80s were a fertile period when curators, writers, photographers and collectors like William Arnett were championing and exposing the exuberant, previously unheralded work that was being made by unknown artists throughout the American Southeast. As younger generations continue to synthesize the techniques and aesthetics displayed in the work of these artists, historians are more openly discussing the social and economic reasons for their remaining unknown for so long in the first place. Where Paradise Lay looks at the late 20th-century intrigue that flourished around this region, revisiting this museum’s own legacy in the history of collecting and exhibiting work from those who are, as Williams writes, “directly involved with making a paradise for themselves in the front yard, the back garden, the parlor, the sun porch, the basement.” KMAC Museum is now at the center of a discourse in contemporary art that places these artists in context with an increasingly global contemporary culture that looks to the Southern U.S. for inspiration. KMAC’s exhibition will reveal how artists, like those featured in the book "Walks to the Paradise Garden" - Howard Finster, Mary T. Smith, Thornton Dial, Ralph Griffin, Martha Nelson Thomas, Eddie Owens Martin, Edgar Tolson, and others - have helped to construct America’s artistic and cultural roots, shaping our country’s collective visual identity. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593630926813-ATQD164A0JT2Q6JWKDY7/1.jpg Off Site: Where Paradise Lay - Installation view Where Paradise Lay
 Art and Southern Sanctuary
 KMAC
 Curated by Phillip March Jones and Joey Yates June 19 - November 8, 2020

 Where Paradise Lay is an exhibition that takes inspiration from the book "Walks to the Paradise Garden," written by the poet, founder of the Jargon Society, and Black Mountain College alum, Jonathan Williams. Nearly thirty years after its completion in 1992, Institute 193 in Lexington, Kentucky published the text and images that chronicled Williams’ periodic journeys in the 1980’s and early 90’s with photographers Guy Mendes and Roger Manley as they searched for artists who, in Williams’ words, “live on the heath, amid the rhododendron and laurel and heather and sand myrtle—just like me.” The chronicle focused on a region “between Virginia and Louisiana, from the Ohio River to the Everglades.” Dozens of the artists profiled and documented during their trips have since been acquired by multiple U.S. institutions that include KMAC Museum, as well as the Metropolitan Museum in New York, the Smithsonian, and the High Museum in Atlanta. The High Museum adapted the Williams manuscript into an exhibition entitled Way Out There: The Art of Southern Backroads in early 2019 on the occasion of the first publication of Walks to the Paradise Garden, borrowing Mendes’ proposed, but rejected, title for the manuscript, "Way Out People Way Out There". Due to the great efforts of advocates like former University of Kentucky art professor Michael Hall, who worked to include the Kentucky woodcarver Edgar Tolson in the 1973 Whitney Biennial, and New Museum founder Marcia Tucker, who included Howard Finster from Georgia in her exhibition for the American Pavilion at the 41st Venice Biennale in 1984, considerable attention had begun to be paid to these difficult to classify artists, despite their having been folded into the labels folk artist, outsider, self-taught, or visionary artist, a collection of terms intended to differentiate them from artists who were “trained” within an international system of university art programs. It was during this period that KMAC Museum itself was founded in 1981, originally as the Kentucky Art and Craft foundation, exhibiting traditional craft and folk artists from the region. A year later Jane Livingston and John Beardsley organized the seminal exhibition Black Folk Art in America, 1930-1980 at the Corcoran Gallery in Washington D.C. Two years after that, in 1984, Jonathan Williams made the first trip documented in the book. The 1970’s and 80’s were a fertile period when curators, writers, photographers and collectors like William Arnett were championing and exposing the exuberant, previously unheralded work that was being made by unknown artists throughout the American Southeast. As younger generations continue to synthesize the techniques and aesthetics displayed in the work of these artists, historians are more openly discussing the social and economic reasons for their remaining unknown for so long in the first place. Where Paradise Lay looks at the late 20th century intrigue that flourished around this region, revisiting this museum’s own legacy in the history of collecting and exhibiting work from those who are, as Williams writes, “directly involved with making a paradise for themselves in the front yard, the back garden, the parlor, the sun porch, the basement.” KMAC Museum is now at the center of a discourse in contemporary art that places these artists in context with an increasingly global contemporary culture that looks to the Southern U.S. for inspiration. KMAC’s exhibition will reveal how artists, like those featured in the book "Walks to the Paradise Garden" - Howard Finster, Mary T. Smith, Thornton Dial, Ralph Griffin, Martha Nelson Thomas, Eddie Owens Martin, Edgar Tolson, and others - have helped to construct America’s artistic and cultural roots, shaping our country’s collective visual identity. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593630953318-2WTD9K1B07D6WJHN8NI8/2.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593633596246-38AJD45BH5TMKE3F3MYV/3.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593633618985-RN6Z07D570QCT13FJNZ0/4.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593631033582-O3E1D80BBKS5QMG82TSQ/5.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593631055308-PBD0KDZBEJT7Q2135BHX/6.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593631078135-SQX4QRXGYYZ0JUCTLV9F/7.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593633653390-PZI2A1VWLO1DEKUBMAH7/8.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593633676942-C98H429XF9677Y597994/9.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593633702528-JFZMT1VKKE3IH41RHH1N/10.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593631100784-YNABDBZS5RAAOLJQW7HA/11.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593631122645-JLYLLPCBGDWK4EK7L8OH/12.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593631149322-ODRVNKRX7OQJGK94ZZGI/13.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593631272812-KSPGSME9B0M6CG0IHMDJ/14.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593631297531-8WG0L3J4P2II24O42F5M/15.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593633737357-O6J9FV2WYIQ73S7728XY/16.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593630621663-7FSHI56NZVUI6U03530K/17.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593631318708-EQQ7C2207XD53873CI3G/18.jpg Off Site: Where Paradise Lay - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593631343986-POTHDPETU4UCMU5B6VNT/19.jpg Off Site: Where Paradise Lay - Installation view https://www.institute193.org/off-site-jessie-dunahoo daily 0.75 2024-10-23 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593636331021-ORP9I070SYVQI6BN0MRA/005jpg.jpg Off Site: Jessie Dunahoo - Installation view Jessie Dunahoo The Carnegie July 5 - August 28, 2020 Jessie Dunahoo (1932-2017) was raised on a farm in rural Kentucky during a period when support for people considered to have a disability was even more limited than what it is today. Deaf since birth, Dunahoo also lost his vision as a young man. Using various fences and trees to hang intersecting lines, ropes, and wires that could be grasped and threaded, Dunahoo created a 3D map he used to navigate outdoor space, a practice he maintained throughout his life. Later in life, Dunahoo became involved with Latitude Artist Community and Institute 193 in Lexington, Kentucky, where his work evolved into a quilt-like structures taking on the dimensions of his four by eights foot studio table. This exhibition presents works created at Latitude in the years he spent there prior to his death in 2017. Jessie Dunahoo is organized with Institute 193, Lexington, Kentucky, in the Ohio Financial Services Gallery. Press: Jessie Dunahoo at the Carnegie, by Steve Kemple, AEQAI, March 28, 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593636331021-ORP9I070SYVQI6BN0MRA/005jpg.jpg Off Site: Jessie Dunahoo - Installation view Jessie Dunahoo The Carnegie July 5 - August 28, 2020 Jessie Dunahoo (1932-2017) was raised on a farm in rural Kentucky during a period when support for people considered to have a disability was even more limited than what it is today. Deaf since birth, Dunahoo also lost his vision as a young man. Using various fences and trees to hang intersecting lines, ropes, and wires that could be grasped and threaded, Dunahoo created a 3D map he used to navigate outdoor space, a practice he maintained throughout his life. Later in life, Dunahoo became involved with Latitude Artist Community and Institute 193 in Lexington, Kentucky, where his work evolved into a quilt-like structures taking on the dimensions of his four by eights foot studio table. This exhibition presents works created at Latitude in the years he spent there prior to his death in 2017. Jessie Dunahoo is organized with Institute 193, Lexington, Kentucky, in the Ohio Financial Services Gallery. Press: Jessie Dunahoo at the Carnegie, by Steve Kemple, AEQAI, March 28, 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593634299577-BTO4YWI19O7E24XO5Z64/003jpg.jpg Off Site: Jessie Dunahoo - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593636244257-A4UX0JDNLX0R6D7V1AKD/004jpg.jpg Off Site: Jessie Dunahoo - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593633059807-1TMKP0P75HS0SQ7VA77W/006jpg.jpg Off Site: Jessie Dunahoo - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593636391157-N2KO6TYLM9336PFS5F70/007jpg.jpg Off Site: Jessie Dunahoo - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593636533077-ESZJ2461XLLIZQSFFIDQ/010jpg.jpg Off Site: Jessie Dunahoo - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593636581346-ICUWVUEW9BLE362DSNOW/011jpg.jpg Off Site: Jessie Dunahoo - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593636666462-22XEM3KSLTGPRJH78U42/013jpg.jpg Off Site: Jessie Dunahoo - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593636710505-PNTCPZ3YLAWLLSVJR94Y/016jpg.jpg Off Site: Jessie Dunahoo - Installation view https://www.institute193.org/off-site-louis-bickett daily 0.75 2020-07-15 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594744994691-8N02M03XU3TMVLPCR6MD/Bickett_001.jpg Off Site: Louis Bickett - Installation view Louis Zoellar Bickett The Archive Andrew Edlin Gallery March 3 - April 15, 2017 Since 1972, Louis Zoellar Bickett has meticulously collected and cataloged items from his daily life and assembled them into a functional installation he refers to as: THE ARCHIVE. Photographs, dinner receipts, dog brushes, jars, binders and items of every sort are tagged and neatly placed within the 3-D collage that serves as home and studio to the artist. The archive's contents are seemingly endless and infinitely varied. The crux of Bickett’s work lies in his ability to transform the most basic object into a work of art by using a simple associative process. The collection, organization, and archiving of everyday objects imbues them with significance beyond function or simple metaphor. Every object is tagged with a name and date, corresponding to a set of events, an idea, or some larger on-going project. The object's viewer knows precisely what it is, where it’s from, why it was purchased, the name of its previous owner or the role that it plays in the artist's life. Its placement within the Archive further secures its importance and guarantees its survival. Sculptures, photographs and paintings are tagged in the same manner (and with the same precision) as flashlights, bowling bags, and hats. Certain objects are tagged or stamped several times to reflect their inclusion in various projects. The age-old question, "What is art?" is clearly answered in Bickett's process: anything I choose. The Archive Louis Zoellar Bickett provides a glimpse at a seemingly random sampling of objects. It is not intended to be a retrospective or even an accounting of various projects. Indeed, there are too many for an exhibition of this size. The intention is rather to select objects that resonate with simplicity and illuminate the artist's transformative abilities while hinting at the larger themes of sex, identity, and death that permeate Bickett's work. Furiously collecting and archiving towards death, Bickett has become the central object of the archive - missing only the tag he will receive, not unlike the rest of us, upon his own demise. With this exhibition, we invite the viewer into the artist's studio for a fleeting glance at Bickett's work and the machinations of his vast and ever-growing Archive. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594744994691-8N02M03XU3TMVLPCR6MD/Bickett_001.jpg Off Site: Louis Bickett - Installation view Louis Zoellar Bickett The Archive Andrew Edlin Gallery March 3 - April 15, 2017 Since 1972, Louis Zoellar Bickett has meticulously collected and cataloged items from his daily life and assembled them into a functional installation he refers to as: THE ARCHIVE. Photographs, dinner receipts, dog brushes, jars, binders and items of every sort are tagged and neatly placed within the 3-D collage that serves as home and studio to the artist. The archive's contents are seemingly endless and infinitely varied. The crux of Bickett’s work lies in his ability to transform the most basic object into a work of art by using a simple associative process. The collection, organization, and archiving of everyday objects imbues them with significance beyond function or simple metaphor. Every object is tagged with a name and date, corresponding to a set of events, an idea, or some larger on-going project. The object's viewer knows precisely what it is, where it’s from, why it was purchased, the name of its previous owner or the role that it plays in the artist's life. Its placement within the Archive further secures its importance and guarantees its survival. Sculptures, photographs and paintings are tagged in the same manner (and with the same precision) as flashlights, bowling bags, and hats. Certain objects are tagged or stamped several times to reflect their inclusion in various projects. The age-old question, "What is art?" is clearly answered in Bickett's process: anything I choose. The Archive Louis Zoellar Bickett provides a glimpse at a seemingly random sampling of objects. It is not intended to be a retrospective or even an accounting of various projects. Indeed, there are too many for an exhibition of this size. The intention is rather to select objects that resonate with simplicity and illuminate the artist's transformative abilities while hinting at the larger themes of sex, identity, and death that permeate Bickett's work. Furiously collecting and archiving towards death, Bickett has become the central object of the archive - missing only the tag he will receive, not unlike the rest of us, upon his own demise. With this exhibition, we invite the viewer into the artist's studio for a fleeting glance at Bickett's work and the machinations of his vast and ever-growing Archive. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594745026446-AVVVCRPTC906EXSRCMBS/Bickett_002.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594745058509-UZJQA6SUBLDC57Y86K3F/Bickett_003.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594745427879-98UFHDK7OVUNBWRJPSMC/Bickett_004.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594746033468-0Q4558PTE03B3QW3X1HJ/Bickett_005.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594746058756-E7T98HERLR0LI1H49T0K/Bickett_007.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594746510697-EP13PD13FN6G0TD6QLL1/Bickett_009.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594746553742-GI5Q6N1JG6KTKJNXJZ9B/Bickett_015.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594746580489-8SZF027E38J7ACWDOHW1/Bickett_018.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594746587613-BWGPQ50PT1M515EC7M4M/Bickett_023.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594746610586-9XBOZZ1VQ7EP3T6FHV4X/Bickett_029.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594746929702-9VIS1U18D9V74HWXDOZ8/Bickett_032.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594746963995-5LFPNC3R98IUCJJE5TDH/Bickett_037.jpg Off Site: Louis Bickett Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594746973844-POAEHA8SDIS0GWQJ1VGU/Bickett_038.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594747007263-NIVU9AI1C4FPNASCN5BA/Bickett_028.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594825344811-P3S5P9OJTRS26TRVUQN8/Bickett_006.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594825385673-7RORKN7RSO9YYSTEKE2J/Bickett_010.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594825414046-RF2CFU4W6QFINM5S8ANV/Bickett_012.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594825451553-YOQXX1WND3KOVMUQQ0B1/Bickett_013.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594825490164-6V01G2NU2OAJRD00BUSY/Bickett_017.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594825499972-YJCBTIE7NX6ADIQL6EAC/Bickett_019.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594825545852-X9G8O2X8HHRBT09BSZQW/Bickett_020.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594825598147-HXZDVS49IL2DCWFENCZL/Bickett_022.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594825653211-VWTAM9N8SWIYTDU2BXZ5/Bickett_025.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594825718656-DL54XR3CRX4CTNNKKU7D/Bickett_027.jpg Off Site: Louis Bickett - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594825854590-S3AQZ01L7BR6JKEHJMIV/Bickett_024.jpg Off Site: Louis Bickett - Installation view https://www.institute193.org/exhibitions-melissa-watt-ky daily 0.75 2020-09-25 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1597344926996-TB7ASS6IF45QN5ECFYPP/for200709_193-18.jpg Exhibitions: Melissa Watt KY - Melissa Watt, Under A Blue Moon, 2017, composite photograph, 18.75 x 24 inches Melissa Watt Symmetry Breaking August 20 - October 3, 2020 Institute 193, Lexington In nature, symmetry occurs only in approximation. It exists in recognizable modes such as radial symmetry in starfish or most flowers, which are symmetrical on rotational axes, and in bilateral, mirrored forms, as in butterflies and the human face. These forms of symmetry are first present at molecular, cellular, and embryonic levels, but it is the process of symmetry breaking that shapes every organism’s growth: plants and animals break from the genetic patterning of their predecessors, destroying old patterns to create new ones. Symmetry breaking is fundamental to the creation of new life and is a concept mirrored in the photographs of Melissa Watt, whose composite images reflect and transform the natural world into new realms. The photographed natural world begins its transformation through its reflection across a vertical axis, creating imaginative, bilaterally symmetrical environments that are expansive and uncanny. Their digital manipulation renders this symmetry perfect but through careful selection, Watt introduces new elements taken from numerous other photographs to begin the process of symmetry breaking and the formation of new worlds. What results are large-scale, visual stories with a studied attention to the natural world — in full bloom, or as dying or dead organisms from locations as varied as the artist’s yard to the Everglades and Spain. In these impossible settings, Watt creates fantastical scenes populated by plants and animals. Like illustrations in fairy tales or fables, there are decorative, patterned frames that border each photograph, taken from elements in the composition or other photos. These, too, are symmetrical, and invite an immersion into the harmonies and broken symmetries of each photograph. In these works, Watt strikes a measured balance between the beauty of the natural world and imaginative fictions therein, creating worlds and stories anew. —Emma Friedman-Buchanan, Director, Institute 193 (1B) Press: Art as Therapy: Symmetry Breaking by Melissa Watt, by Julie Wilson, Magnum Opal, September 25, 2020 Melissa Watt: Symmetry Breaking, by Kevin Nance, Under Main, September 8, 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1597344926996-TB7ASS6IF45QN5ECFYPP/for200709_193-18.jpg Exhibitions: Melissa Watt KY - Melissa Watt, Under A Blue Moon, 2017, composite photograph, 18.75 x 24 inches Melissa Watt Symmetry Breaking August 20 - October 3, 2020 Institute 193, Lexington In nature, symmetry occurs only in approximation. It exists in recognizable modes such as radial symmetry in starfish or most flowers, which are symmetrical on rotational axes, and in bilateral, mirrored forms, as in butterflies and the human face. These forms of symmetry are first present at molecular, cellular, and embryonic levels, but it is the process of symmetry breaking that shapes every organism’s growth: plants and animals break from the genetic patterning of their predecessors, destroying old patterns to create new ones. Symmetry breaking is fundamental to the creation of new life and is a concept mirrored in the photographs of Melissa Watt, whose composite images reflect and transform the natural world into new realms. The photographed natural world begins its transformation through its reflection across a vertical axis, creating imaginative, bilaterally symmetrical environments that are expansive and uncanny. Their digital manipulation renders this symmetry perfect but through careful selection, Watt introduces new elements taken from numerous other photographs to begin the process of symmetry breaking and the formation of new worlds. What results are large-scale, visual stories with a studied attention to the natural world — in full bloom, or as dying or dead organisms from locations as varied as the artist’s yard to the Everglades and Spain. In these impossible settings, Watt creates fantastical scenes populated by plants and animals. Like illustrations in fairy tales or fables, there are decorative, patterned frames that border each photograph, taken from elements in the composition or other photos. These, too, are symmetrical, and invite an immersion into the harmonies and broken symmetries of each photograph. In these works, Watt strikes a measured balance between the beauty of the natural world and imaginative fictions therein, creating worlds and stories anew. —Emma Friedman-Buchanan, Director, Institute 193 (1B) Press: Art as Therapy: Symmetry Breaking by Melissa Watt, by Julie Wilson, Magnum Opal, September 25, 2020 Melissa Watt: Symmetry Breaking, by Kevin Nance, Under Main, September 8, 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1597344139559-E3RN14I3BP45IE16BV6K/for200709_193-17.jpg Exhibitions: Melissa Watt KY - Melissa Watt, Spring Lamb, 2016, composite photograph, 18.6 x 37.1 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1597344171006-7SYOE5N0FY9W04HCIBEI/for200709_193-15.jpg Exhibitions: Melissa Watt KY - Melissa Watt, Meanwhile, the World Goes On, 2019, composite photograph, 18.6 x 43.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1597344532857-1Y5TT6LFBDU7EEI75DPC/for200709_193-7.jpg Exhibitions: Melissa Watt KY - Melissa Watt, After You, 2019, composite photograph, 18.6 x 47.4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1597345308092-B51W1QQETFOGNO1FNJK4/for200709_193-19.jpg Exhibitions: Melissa Watt KY - Melissa Watt, Blue Lagoon, 2017, composite photograph, 18.6 x 48.6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1597345091467-LKZQJGCSBBTWYCTLH2FQ/for200709_193-14.jpg Exhibitions: Melissa Watt KY - Melissa Watt, Monkey in the Pawpaws, 2018, composite photograph, 18.5 x 47 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1598982636491-D6JZ3FMNFTVGEK0SNYKG/installview1.jpg Exhibitions: Melissa Watt KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1598982735843-2TL899VVQ9POU39V8G2X/installview2.jpg Exhibitions: Melissa Watt KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1598982923271-4TNQ1AYUR0DWZ3J6WJEO/DSC_0204.jpg Exhibitions: Melissa Watt KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1598983013321-Q1RPZJEX3MU1D9L8DI5J/DSC_0191.jpg Exhibitions: Melissa Watt KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1598983037892-SJL7CGAGII8N4D0TPY3P/DSC_0185.jpg Exhibitions: Melissa Watt KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1598983170741-DULACK2RQIP556C1O5PG/DSC_0188.jpg Exhibitions: Melissa Watt KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1598983197987-MPT5KNTZ47MHQOE8KYYS/DSC_0189.jpg Exhibitions: Melissa Watt KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1598983221415-1C3NVOJ454YS3GGTPR5U/DSC_0190.jpg Exhibitions: Melissa Watt KY - Installation view https://www.institute193.org/exhibitions-james-r-southard-ky daily 0.75 2020-11-11 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1600978816292-VRVLZ5MVSZB392EVCMMZ/303A2414B+MID.jpg Exhibitions: James R. Southard KY - James R. Southard, Heifer, 2018, digital photograph, 15.75 x 22.5 inches James R. Southard Why Buy the Cow October 7 - November 14, 2020 Institute 193, Lexington For the past few years, James R. Southard has spent his summers in Johnson, Vermont documenting the daily life of small-scale dairy farmers. The photographs in this exhibition focus on the Rankin Family and tell a familiar story about the collapse of the dairy industry in the region: large, automated, and heavily-mechanized operations systematically undercut local farms, leading to the closure of the majority of artisanal operations and increased suicide rates amongst the farmers. In the process, many multigenerational dairy farms are forced to sell their land at a loss, if selling is at all possible, transforming the regional geography of land and agricultural stewardship. Southard’s photographic style walks a fine line between documentary and staged photography. Both rooted in longstanding tradition, each discipline utilizes a different approach to storytelling: in a staged photograph, the photographer intentionally sets the scene to tell a preconceived narrative, whereas documentary photography often relies on capturing an unaltered moment in time. By utilizing a mixture of documentary photography and staged portraits, Southard poignantly suspends his subjects in a magical reality. He uses his camera to tell a story essential to the livelihood of these farmers, offering the viewer a glimpse into their disappearing way of life. James R. Southard is a Senior Lecturer of Photography at the University of Kentucky. His photography concerns agricultural communities in rural Kentucky, Wyoming, Maine, and Vermont. He is currently photographing farmers across Kentucky through a virtual residency with the Joseph A. Fiore Art Center in Belfast, Maine. Southard’s project in Vermont was made possible by help from the Great Meadows Foundation, Vermont Studio Center, the School of Art and Visual Studies at the University of Kentucky, and the Food Connection. Proceeds from this exhibition will be equally shared and donated to the Northeast Organic Farming Association of Vermont. Press: UK Photography Lecturer’s Exhibition Examines Dairy Farmers’ Struggle by Hayden Gooding, UKNow, November 10, 2020 Exhibit By James Southard, Why Buy the Cow by Kathy Black, Vermont Studio Center, October 20, 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1600978816292-VRVLZ5MVSZB392EVCMMZ/303A2414B+MID.jpg Exhibitions: James R. Southard KY - James R. Southard, Heifer, 2018, digital photograph, 15.75 x 22.5 inches James R. Southard Why Buy the Cow October 7 - November 14, 2020 Institute 193, Lexington For the past few years, James R. Southard has spent his summers in Johnson, Vermont documenting the daily life of small-scale dairy farmers. The photographs in this exhibition focus on the Rankin Family and tell a familiar story about the collapse of the dairy industry in the region: large, automated, and heavily-mechanized operations systematically undercut local farms, leading to the closure of the majority of artisanal operations and increased suicide rates amongst the farmers. In the process, many multigenerational dairy farms are forced to sell their land at a loss, if selling is at all possible, transforming the regional geography of land and agricultural stewardship. Southard’s photographic style walks a fine line between documentary and staged photography. Both rooted in longstanding tradition, each discipline utilizes a different approach to storytelling: in a staged photograph, the photographer intentionally sets the scene to tell a preconceived narrative, whereas documentary photography often relies on capturing an unaltered moment in time. By utilizing a mixture of documentary photography and staged portraits, Southard poignantly suspends his subjects in a magical reality. He uses his camera to tell a story essential to the livelihood of these farmers, offering the viewer a glimpse into their disappearing way of life. James R. Southard is a Senior Lecturer of Photography at the University of Kentucky. His photography concerns agricultural communities in rural Kentucky, Wyoming, Maine, and Vermont. He is currently photographing farmers across Kentucky through a virtual residency with the Joseph A. Fiore Art Center in Belfast, Maine. Southard’s project in Vermont was made possible by help from the Great Meadows Foundation, Vermont Studio Center, the School of Art and Visual Studies at the University of Kentucky, and the Food Connection. Proceeds from this exhibition will be equally shared and donated to the Northeast Organic Farming Association of Vermont. Press: UK Photography Lecturer’s Exhibition Examines Dairy Farmers’ Struggle by Hayden Gooding, UKNow, November 10, 2020 Exhibit By James Southard, Why Buy the Cow by Kathy Black, Vermont Studio Center, October 20, 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1600978726860-1MSGXM5XFB77S45I5ND9/ILA+Image+2_Flat+sm.jpg Exhibitions: James R. Southard KY - James R. Southard, Ila with Calf, 2018, digital photograph, 25.5 x 25.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1600978777050-SMDGLUVVTG45H5H41AT1/303A1139+B+BIG+Small.jpg Exhibitions: James R. Southard KY - James R. Southard, Trust, 2018, digital photograph, 32.5 x 23.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1600978853157-1IIMJFGNXI3Q1NGS45BD/303A4427B+MID.jpg Exhibitions: James R. Southard KY - James R. Southard, Warren (farmer), 2018, digital photograph, 27 x 18 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1600978772995-A1YXQI3GQ4S34V6FES6O/303A0441B.jpg Exhibitions: James R. Southard KY - James R. Southard, Horse & Buggy, 2018, digital photograph, 19.5 x 19.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1600979020320-J489ZQDFY3J8ZUPEQZJX/TaraFlat+MID.jpg Exhibitions: James R. Southard KY - James R. Southard, Tara and Warren Jr. (mother and son), 2018, digital photograph, 34.5 x 34.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1604607401488-G8BF9BQQKE4I02GONSTJ/DSC0023.jpg Exhibitions: James R. Southard KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1604603969660-R394QRYBDUQHNDETR95H/DSC0009.jpg Exhibitions: James R. Southard KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1604604020958-GU1NF8QPTWBSZAXJ7NQY/DSC0025.jpg Exhibitions: James R. Southard KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1604604376070-S0N9G9443QXTQ4P7M7XU/DSC0032.jpg Exhibitions: James R. Southard KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1604604438701-VB2TS2PERGREKAHAW9C5/DSC0033.jpg Exhibitions: James R. Southard KY - Installation view https://www.institute193.org/exhibitions-patrick-smith daily 0.75 2021-01-06 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1605734115186-FMIB3O1E28V9V67SHJLL/Dylan.jpg Exhibitions: Patrick Smith - Patrick Smith, Dylan, 2020, acrylic on Arches paper, 22 x 18.5 inches Patrick Smith The Intimacy of Others November 18, 2020 - January 16, 2021 Institute 193, Lexington A man reclines on his back, right arm cast behind his head with a look of relaxation, or possibly exhaustion, on his face. Eyes closed, he is nude from the waist up, seemingly unaware he is being watched from the other side of the frame. Another woman stares directly at the viewer as if looking at her reflection in a mirror, sliding her undergarments over her hip, possibly considering what she sees in tandem with some inner dialogue. Patrick Smith’s paintings appear to capture glimpses of personal, private moments meant to be seen by a single person, or no one at all. The most basic definition of intimacy is the closeness between people in a personal relationship; an experience that emits a feeling of humanity at its most primitive level. Working strictly from his own photographs of people with whom he has a close relationship, Smith delicately renders portraits that are intimate in both size and subject matter, often no larger than a standard sheet of paper. Their scale requires the observer to view the works from a short distance, thereby witnessing intimate moments not meant to be seen from an outsider’s perspective. Photographic in nature, Smith’s paintings employ minute details to transform the works from brushstrokes on paper to visceral encounters between subject and viewer. Patrick Smith lives and works in Lexington, Kentucky. Before receiving his bachelor’s degree from Transylvania University in 2008, a friend encouraged him to take a painting class, kindling his passion to pursue a life in the arts. While at Transylvania University, Smith attended the Marchutz School of Fine Arts in Aix-en-Provence, France, where he honed his skills as a representational painter by reproducing black and white etchings of renowned Dutch painter Rembrandt van Rijn. Patrick Smith: The Intimacy of Others is presented in collaboration with the University of Kentucky Art Museum. A separate exhibition tilted Face Off: Patrick Smith with Victor Hammer will run concurrently at their location from November 10, 2020 – April 3, 2021. Click here for more information. Press: Good Paintings of Bad Bitches: A Review of Patrick Smith’s “The Intimacy of Others” and “Face Off: Patrick Smith with Victor Hammer” by Cooper Gibson, Under Main, December 31, 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1605734115186-FMIB3O1E28V9V67SHJLL/Dylan.jpg Exhibitions: Patrick Smith - Patrick Smith, Dylan, 2020, acrylic on Arches paper, 22 x 18.5 inches Patrick Smith The Intimacy of Others November 18, 2020 - January 16, 2021 Institute 193, Lexington A man reclines on his back, right arm cast behind his head with a look of relaxation, or possibly exhaustion, on his face. Eyes closed, he is nude from the waist up, seemingly unaware he is being watched from the other side of the frame. Another woman stares directly at the viewer as if looking at her reflection in a mirror, sliding her undergarments over her hip, possibly considering what she sees in tandem with some inner dialogue. Patrick Smith’s paintings appear to capture glimpses of personal, private moments meant to be seen by a single person, or no one at all. The most basic definition of intimacy is the closeness between people in a personal relationship; an experience that emits a feeling of humanity at its most primitive level. Working strictly from his own photographs of people with whom he has a close relationship, Smith delicately renders portraits that are intimate in both size and subject matter, often no larger than a standard sheet of paper. Their scale requires the observer to view the works from a short distance, thereby witnessing intimate moments not meant to be seen from an outsider’s perspective. Photographic in nature, Smith’s paintings employ minute details to transform the works from brushstrokes on paper to visceral encounters between subject and viewer. Patrick Smith lives and works in Lexington, Kentucky. Before receiving his bachelor’s degree from Transylvania University in 2008, a friend encouraged him to take a painting class, kindling his passion to pursue a life in the arts. While at Transylvania University, Smith attended the Marchutz School of Fine Arts in Aix-en-Provence, France, where he honed his skills as a representational painter by reproducing black and white etchings of renowned Dutch painter Rembrandt van Rijn. Patrick Smith: The Intimacy of Others is presented in collaboration with the University of Kentucky Art Museum. A separate exhibition tilted Face Off: Patrick Smith with Victor Hammer will run concurrently at their location from November 10, 2020 – April 3, 2021. Click here for more information. Press: Good Paintings of Bad Bitches: A Review of Patrick Smith’s “The Intimacy of Others” and “Face Off: Patrick Smith with Victor Hammer” by Cooper Gibson, Under Main, December 31, 2020 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1605720216589-6OXJXJ969BP8X9Y01JOB/_DSC0007-2.jpg Exhibitions: Patrick Smith - Patrick Smith, Alyssa, 2020, acrylic on Arches paper, 21 x 17.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1605726196958-AM7E19MLQEYDL5Q153Q7/_DSC0027-2-2.jpg Exhibitions: Patrick Smith - Patrick Smith, Dylan, 2020, acrylic on Arches paper, 22 x 18.5 inches Patrick Smith The Intimacy of Others November 18, 2020 - January 16, 2021 Institute 193, Lexington A man reclines on his back, right arm cast behind his head with a look of relaxation, or possibly exhaustion, on his face. Eyes closed, he is nude from the waist up, seemingly unaware he is being watched from the other side of the frame. Another woman stares directly at the viewer as if looking at her reflection in a mirror, sliding her undergarments over her hip, possibly considering what she sees in tandem with some inner dialogue. Patrick Smith’s paintings appear to capture glimpses of personal, private moments meant to be seen by a single person, or no one at all. The most basic definition of intimacy is the closeness between people in a personal relationship; an experience that emits a feeling of humanity at its most primitive level. Working strictly from his own photographs of people with whom he has a close relationship, Smith delicately renders portraits that are intimate in both size and subject matter, often no larger than a standard sheet of paper. Their scale requires the observer to view the works from a short distance, thereby witnessing intimate moments not meant to be seen from an outsider’s perspective. Photographic in nature, Smith’s paintings employ minute details to transform the works from brushstrokes on paper to visceral encounters between subject and viewer. Patrick Smith lives and works in Lexington, Kentucky. Before receiving his bachelor’s degree from Transylvania University in 2008, a friend encouraged him to take a painting class, kindling his passion to pursue a life in the arts. While at Transylvania University, Smith attended the Marchutz School of Fine Arts in Aix-en-Provence, France, where he honed his skills as a representational painter by reproducing black and white etchings of renowned Dutch painter Rembrandt van Rijn. Patrick Smith: The Intimacy of Others is presented in collaboration with the University of Kentucky Art Museum. A separate exhibition tilted Face Off: Patrick Smith with Victor Hammer will run concurrently at their location from November 10, 2020 – April 3, 2021. Click here for more information. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1605734335643-S6RL93SFFLI902C40RN9/Armani.jpg Exhibitions: Patrick Smith - Patrick Smith, Armani, 2018, acrylic on Arches paper, 18 x 15.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1605734390120-AI5ZDP5J0S49LUN7K3WN/Elle.jpg Exhibitions: Patrick Smith - Patrick Smith, Elle, 2019, acrylic on Arches paper, 13.75 x 11.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1605734425852-7I0IWG140HDWEB0UDRQO/Teddy.jpg Exhibitions: Patrick Smith - Patrick Smith, Teddy, 2018, acrylic on Arches paper, 17.5 x 14.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1605734556987-ZM3GZIJB42AABJ9UEAM8/Christina.jpg Exhibitions: Patrick Smith - Patrick Smith, Christina, 2020, acrylic on Arches paper, 18.5 x 22.5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1605734607939-C95GX2E81FSOMO32KGDQ/Aylssa+II.jpg Exhibitions: Patrick Smith - Patrick Smith, Alyssa II, 2019, acrylic on Arches paper, 19 x 17.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1605734692702-NEUPOELZN3A5IKNOPQ5C/Armani+II.jpg Exhibitions: Patrick Smith - Patrick Smith, Armani II, 2018, acrylic on Arches paper, 15 x 12.75 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1605734755274-EYDPDUF2QFCARL06UF7T/Kiki.jpg Exhibitions: Patrick Smith - Patrick Smith, Kiki, 2019, acrylic on Arches paper, 15.25 x 19 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1605722808687-2BSZUG2YWLXIFC11WWKG/_DSC0027.jpg Exhibitions: Patrick Smith https://www.institute193.org/exhibitions-lawrence-tarpey-ky daily 0.75 2021-03-03 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611166243437-NA3R633I5C4X44DYZOZX/A%2BMuch%2BBetter%2BView.jpg Exhibitions: Lawrence Tarpey KY - Lawrence Tarpey, A Much Better View, 2020, oil and graphite on gessoed board, 8 x 10 inches. Lawrence Tarpey Subconscious States January 20 - March 6, 2021 Lawrence Tarpey’s method is spontaneous. He does not use studies; nothing about his work is premeditated except his process, of which he has developed his own, combining painting, drawing, etching, and sanding. He starts with a blank slate, typically claybord or gessobord, and covers it with oil paint, scraping the surface with razor blades as it dries to create ambiguous, organic shapes on which the rest of the composition is built. This process allows his imagination to gradually unfold, until a sprawling, atmospheric dreamscape emerges. Much in the same way dreams come to us in unconscious states, Tarpey lets his intuition take over, allowing his process to take him on a journey without knowing the destination. The artist’s studio is a manifestation of his mind. A bin, full to the brim of finished works piled haphazardly on top of each other, sits next to his worktable. Teeming with paintings in various stages of development, Tarpey’s studio is an ode to a man endlessly honing his craft. Inspiration imbues him with a continual need to produce work, akin to automatic writing, resulting in loosely figurative subject matter anchored in alternate realities. Lawrence Tarpey is an artist, musician, and longtime resident of Lexington, Kentucky. Primarily a self-taught artist, Tarpey has been painting and drawing for well over three decades. Beginning early in the 1980s, Tarpey was a crucial part of the Lexington music scene as the founder and member of punk outfits such as Active Ingredients, The Resurrected Bloated Floaters, Born Joey, and Rabby Feeber. His current band, The Yellow Belts, is a 1970s-influenced garage punk band, and his most recent musical project is an original rock band called The CRISPRS. Press: Studio Visit: Lawrence Tarpey by Kevin Nance, Under Main, March 3, 2021 Lawrence Tarpey at Institute 193, Lexington by Maddie Klett, Burnaway, February 25, 2021 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611166243437-NA3R633I5C4X44DYZOZX/A%2BMuch%2BBetter%2BView.jpg Exhibitions: Lawrence Tarpey KY - Lawrence Tarpey, A Much Better View, 2020, oil and graphite on gessoed board, 8 x 10 inches. Lawrence Tarpey Subconscious States January 20 - March 6, 2021 Lawrence Tarpey’s method is spontaneous. He does not use studies; nothing about his work is premeditated except his process, of which he has developed his own, combining painting, drawing, etching, and sanding. He starts with a blank slate, typically claybord or gessobord, and covers it with oil paint, scraping the surface with razor blades as it dries to create ambiguous, organic shapes on which the rest of the composition is built. This process allows his imagination to gradually unfold, until a sprawling, atmospheric dreamscape emerges. Much in the same way dreams come to us in unconscious states, Tarpey lets his intuition take over, allowing his process to take him on a journey without knowing the destination. The artist’s studio is a manifestation of his mind. A bin, full to the brim of finished works piled haphazardly on top of each other, sits next to his worktable. Teeming with paintings in various stages of development, Tarpey’s studio is an ode to a man endlessly honing his craft. Inspiration imbues him with a continual need to produce work, akin to automatic writing, resulting in loosely figurative subject matter anchored in alternate realities. Lawrence Tarpey is an artist, musician, and longtime resident of Lexington, Kentucky. Primarily a self-taught artist, Tarpey has been painting and drawing for well over three decades. Beginning early in the 1980s, Tarpey was a crucial part of the Lexington music scene as the founder and member of punk outfits such as Active Ingredients, The Resurrected Bloated Floaters, Born Joey, and Rabby Feeber. His current band, The Yellow Belts, is a 1970s-influenced garage punk band, and his most recent musical project is an original rock band called The CRISPRS. Press: Studio Visit: Lawrence Tarpey by Kevin Nance, Under Main, March 3, 2021 Lawrence Tarpey at Institute 193, Lexington by Maddie Klett, Burnaway, February 25, 2021 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611167205002-PA4ZF45PCJU1E2B1Z3BK/Tic%2BTac%2BJoe.jpg Exhibitions: Lawrence Tarpey KY - Lawrence Tarpey, Tic Tac Joe, 2020, oil and graphite on claybord, 5 x 7 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611101609868-CDS7TN9WD3B6BU3WOK3D/Back+Seat+Driver.jpg Exhibitions: Lawrence Tarpey KY - Lawrence Tarpey, Back Seat Driver, 2020, oil and graphite on claybord, 8 x 10 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611101576781-GLWUCLL00E015RRXGNW0/Taurus+in+The+Forrest.jpg Exhibitions: Lawrence Tarpey KY - Lawrence Tarpey, Taurus in the Forest, 2020, oil and graphite on gessoed wood panel, 9 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611101628111-MRP03FNACW1JZQR4GZQ9/Forty+Nights+Ago+Today+Beau+Graphics.jpg Exhibitions: Lawrence Tarpey KY - Lawrence Tarpey, Forty Nights Ago Today, 2020, oil and graphite on claybord, 7 x 5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611167039143-KFL8D11G7CMKOHCJRQVN/Gingus%2BKong%2B2021.jpg Exhibitions: Lawrence Tarpey KY - Lawrence Tarpey, Gingus Kong, 2021, oil and graphite on claybord, 7 x 5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611167068780-XSJZURKMPRCGCKHFJF2O/All%2BPoints%2BIn%2BBetween.jpg Exhibitions: Lawrence Tarpey KY - Lawrence Tarpey, All Points In Between, 2019, oil, graphite, and mixed media on gessoed panel, 5 x 7 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611176093319-AMRJIRO0PV1XZ28ZSZTO/Catacomb+Central+final.jpg Exhibitions: Lawrence Tarpey KY - Lawrence Tarpey, Catacomb Central, 2021, oil on claybord, 7 x 5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611101825782-HZD2QMG3OYWQU7N6JK1S/The+Nine+Commandments+copy.jpg Exhibitions: Lawrence Tarpey KY - Lawrence Tarpey, The Nine Commandments, 2021, oil and graphite on claybord, 7 x 5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611101838653-1IE49XIEDIMK831AZ4ZL/The+Pointer+Brothers.jpg Exhibitions: Lawrence Tarpey KY - Lawrence Tarpey, The Pointer Brothers, 2020, oil and graphite on claybord, 7 x 5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611101855779-D9AZUWODNOS2MF6VA1OM/They+All+Worked+Together.jpg Exhibitions: Lawrence Tarpey KY - Lawrence Tarpey, They All Worked Together, 2020, oil and graphite on claybord, 8 x 10 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611103277049-0IZDYM3AMMHGIAJAMJJL/The+Excavators.jpg Exhibitions: Lawrence Tarpey KY - Lawrence Tarpey, The Excavators, 2019, oil and graphite on claybord, 5 x 7 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611167113141-F8NLBNL3WWDJGXK8U923/Twenty%2BTwenty%2BProfiles.jpg Exhibitions: Lawrence Tarpey KY - Lawrence Tarpey, Twenty Twenty Profiles, 2020, oil and graphite on claybord, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1613240936951-Z1SLYI8T286DSAVF3XG7/_DSC0011.jpg Exhibitions: Lawrence Tarpey KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1613240950840-XW96IR4GE4UFJXCZB8IL/_DSC0013.jpg Exhibitions: Lawrence Tarpey KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1613240982121-ERX4S1CFNZZHXL1SW7UI/_DSC0012.jpg Exhibitions: Lawrence Tarpey KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1613240995496-WM2NTYYT78JHE6LF817P/_DSC0010.jpg Exhibitions: Lawrence Tarpey KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1613241135604-DOB0AHW9UJQ36IPOZQZ3/_DSC0006-2.jpg Exhibitions: Lawrence Tarpey KY - Installation view https://www.institute193.org/exhibitions-y-malik-jalal-ky daily 0.75 2021-03-30 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1615360302337-1419QJBM6WPSCYZWXTJE/_DSC0203+copy.jpg Exhibitions: Y. Malik Jalal KY - Y. Malik Jalal, The Ambassador, 2021, acrylic, oak, scrap metal, and nails on found rug, 24 x 26 x 40 inches Y. Malik Jalal Altars to the Liver March 10 - April 24, 2021 I think a lot about the Sloss Furnaces. If you have ever driven AL-20, just before downtown Birmingham you've spotted the corroded furnaces shipwrecked here on earth. In their day, they must have looked invincible. That time is gone, forever, and now this shocking fallen world remains a constant reminder. This site built the America we now know. Starting in 1882, Alabama coal and ore were brought here to be transformed into the steel that would become skyscrapers transforming the New York City skyline and fueling Detroit's automotive industry. In the first ten years of operation, pig iron production in the state grew to 706,629 gross tons. Birmingham carried with it the weight of the world. Seventeen years after the Civil War, Birmingham's iron and steel industrial workforce was 65% black (by 1910, 75%) and many of the workers came from convicted laborers programs, working in involuntary servitude. Charges as bogus as loitering, vagrancy, or grand theft (anything worth $10 or more) would land a man in a "labor gang." By 1941 when the US entered World War II, and the big boilers were humming, black workers far outnumbered white workers on the dangerous blast furnaces. Slavery hadn't been eradicated; it just had a different face. It's all a story as old as America itself: great wealth amassed off the backs of black labor. Steel and iron are potent symbols of power. They are statements of stability. Volatile forces of nature standing up to the mercy of the weather and human erosion. They are both familiar and unseen. Like all of us, Sloss Furnaces is bursting with contrasts and endless contradictions; the materials produced there are anchored like ghosts trapped in the basement. To probe the history of domestic steel and iron is to lay bare the fragility of our collective national identity. Combining steel, painting, sculptural assemblages, earth, and rust, Y. Malik Jalal (born 1994 in Savannah, GA; lives and works in Atlanta, GA) has its aesthetic roots in this Southern legacy. His objects phase between deconstruction and reconstruction, between his own identity and a larger cultural collective. His works can rewrite their own customs and expand their own legacies. Around every corner, there is the opportunity to learn both from and with Jalal. The works announce themselves, not as stand-ins for a body but as substitutes for nations, religions, or identities. Jalal’s most recent works, debuting here in Lexington, are accumulations of metal objects welded tightly together, reassembled into cylindrical discs, reminiscent of ikegobo sculptures from the royal kingdom of Benin. These “altars to the hand” are cast in either wood or brass, depending on the status within the hierarchy in the kingdom, serve as markers of success. These may be given to commemorate a man's skill with tools, his economic success, and an ability to triumph in physical contests. A family may be given an ikegobo as part of a marriage ceremony to cement political alliances. Both the works by Jalal and those from Benin are legless stools placed upon an alter stand, or here at Institute 193, a pedestal. Jalal’s works are intuitive and unpredictable gestures that invoke the here and now with Birmingham, Birmingham intertwining with African history. Y. Malik Jalal is an artist based in Atlanta, GA. He received his BA in Studio Art from Oglethorpe University in 2016. Jalal was born in Savannah, GA, and raised in the Atlanta suburbs. He has had recent solo exhibitions at Atlanta Contemporary; Delaplane, San Francisco, and Alabama Contemporary, in Mobile. In both 2020 and 2018, his work was included in a two-person show at Hi-Lo Press and at group exhibitions at Mint, Mast, Swan Coach House, and The Gallery by Wish. His first book, A Brief History of the World Vol. 1, was published in 2020 in conjunction with For Keeps Books, Atlanta. — Daniel Fuller, Freelance Curator https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1615360302337-1419QJBM6WPSCYZWXTJE/_DSC0203+copy.jpg Exhibitions: Y. Malik Jalal KY - Y. Malik Jalal, The Ambassador, 2021, acrylic, oak, scrap metal, and nails on found rug, 24 x 26 x 40 inches Y. Malik Jalal Altars to the Liver March 10 - April 24, 2021 I think a lot about the Sloss Furnaces. If you have ever driven AL-20, just before downtown Birmingham you've spotted the corroded furnaces shipwrecked here on earth. In their day, they must have looked invincible. That time is gone, forever, and now this shocking fallen world remains a constant reminder. This site built the America we now know. Starting in 1882, Alabama coal and ore were brought here to be transformed into the steel that would become skyscrapers transforming the New York City skyline and fueling Detroit's automotive industry. In the first ten years of operation, pig iron production in the state grew to 706,629 gross tons. Birmingham carried with it the weight of the world. Seventeen years after the Civil War, Birmingham's iron and steel industrial workforce was 65% black (by 1910, 75%) and many of the workers came from convicted laborers programs, working in involuntary servitude. Charges as bogus as loitering, vagrancy, or grand theft (anything worth $10 or more) would land a man in a "labor gang." By 1941 when the US entered World War II, and the big boilers were humming, black workers far outnumbered white workers on the dangerous blast furnaces. Slavery hadn't been eradicated; it just had a different face. It's all a story as old as America itself: great wealth amassed off the backs of black labor. Steel and iron are potent symbols of power. They are statements of stability. Volatile forces of nature standing up to the mercy of the weather and human erosion. They are both familiar and unseen. Like all of us, Sloss Furnaces is bursting with contrasts and endless contradictions; the materials produced there are anchored like ghosts trapped in the basement. To probe the history of domestic steel and iron is to lay bare the fragility of our collective national identity. Combining steel, painting, sculptural assemblages, earth, and rust, Y. Malik Jalal (born 1994 in Savannah, GA; lives and works in Atlanta, GA) has its aesthetic roots in this Southern legacy. His objects phase between deconstruction and reconstruction, between his own identity and a larger cultural collective. His works can rewrite their own customs and expand their own legacies. Around every corner, there is the opportunity to learn both from and with Jalal. The works announce themselves, not as stand-ins for a body but as substitutes for nations, religions, or identities. Jalal’s most recent works, debuting here in Lexington, are accumulations of metal objects welded tightly together, reassembled into cylindrical discs, reminiscent of ikegobo sculptures from the royal kingdom of Benin. These “altars to the hand” are cast in either wood or brass, depending on the status within the hierarchy in the kingdom, serve as markers of success. These may be given to commemorate a man's skill with tools, his economic success, and an ability to triumph in physical contests. A family may be given an ikegobo as part of a marriage ceremony to cement political alliances. Both the works by Jalal and those from Benin are legless stools placed upon an alter stand, or here at Institute 193, a pedestal. Jalal’s works are intuitive and unpredictable gestures that invoke the here and now with Birmingham, Birmingham intertwining with African history. Y. Malik Jalal is an artist based in Atlanta, GA. He received his BA in Studio Art from Oglethorpe University in 2016. Jalal was born in Savannah, GA, and raised in the Atlanta suburbs. He has had recent solo exhibitions at Atlanta Contemporary; Delaplane, San Francisco, and Alabama Contemporary, in Mobile. In both 2020 and 2018, his work was included in a two-person show at Hi-Lo Press and at group exhibitions at Mint, Mast, Swan Coach House, and The Gallery by Wish. His first book, A Brief History of the World Vol. 1, was published in 2020 in conjunction with For Keeps Books, Atlanta. — Daniel Fuller, Freelance Curator https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1615304020679-86HNP4A8M3HOHVI6NS5J/altartotheliver_SWANFLYERPIC.jpg Exhibitions: Y. Malik Jalal KY Y. Malik Jalal Altars to the Liver March 10 - April 24, 2021 I think a lot about the Sloss Furnaces. If you have ever driven AL-20 just before downtown Birmingham, you've spotted the corroded Furnaces shipwrecked here on earth. In their day, they must have looked invincible. That time is gone, forever, and now this shocking fallen world remains a constant reminder. This site built America as we know it. Starting in 1882, Alabama coal and ore were brought here to be transformed into the steel that would become skyscrapers transforming the New York City skyline and fueling Detroit's automotive industry. In the first ten years of operation, pig iron production in the state grew to 706,629 gross tons. Birmingham carried with it the weight of the world. Seventeen years after the Civil War, Birmingham's iron and steel industrial workforce was 65% black (by 1910, 75%), many of whom came from various convicted laborers programs, working in involuntary servitude. Charges as bogus as loitering, vagrancy, or grand theft (anything worth $10 or more) would land a man in a "labor gang." By 1941 when the US entered World War II, and the big boilers were humming, black workers outnumbered white workers 10 to 1 on the dangerous blast furnaces. Slavery hadn't been eradicated; it just had a different face. It's all a story as old as America itself: great wealth amassed off the backs of black labor. Steel and iron are potent symbols of power. They are statements of stability. Volatile forces of nature standing up to the mercy of the weather and human erosion. They are both familiar and unseen. Like all of us, Sloss Furnaces is bursting with contrasts and endless contradictions; the materials produced there are anchored like ghosts trapped in the basement. To probe the history of domestic steel and iron is to lay bare the fragility of our collective national identity. Combining steel, painting, sculptural assemblages, earth, and rust, Y. Malik Jalal (born 1994 in Savannah, GA; lives and works in Atlanta, GA) finds his aesthetic roots in this southern legacy. His objects phase between deconstruction and reconstruction, between his own identity and a larger cultural collective. His works can rewrite their own customs, to expand their own legacies. Around every corner lies the opportunity to learn both from and with Jalal. The works announce themselves, not as stand-ins for a body but as substitutes for nations, religions, or identities. Jalal’s newest body of work, debuting in Lexington, are accumulations of metal objects welded tightly together, reassembled into cylindrical discs, reminiscent of ikegobo sculptures from the royal kingdom of Benin. These “altars to the hand” are cast in either wood or brass, depending on the status within the hierarchy in the kingdom, serve as markers of success. These may be given to commemorate a man's skill with tools, his economic success, and an ability to triumph in physical contests. A family may be given an ikegobo as part of a marriage ceremony to cement political alliances. Both the works by Jalal and those from Benin are legless stools placed upon an alter stand, or here at Institute 193, a pedestal. Jalal’s works are intuitive and unpredictable gestures that invoke the here and now with Birmingham, Birmingham intertwining with African history. Y. Malik Jalal is an artist based in Atlanta, GA. He received his BA in Studio Art from Oglethorpe University in 2016. Jalal was born in Savannah, GA, and raised in the Atlanta suburbs. He has had recent solo exhibitions at Atlanta Contemporary, Delaplane in San Francisco, and Alabama Contemporary in Mobile. In both 2018 and 2020, his work was included in two-person shows at Hi-Lo Press and group exhibitions at Mint, Mast, Swan Coach House, and The Gallery by Wish. His first book, A Brief History of the World Vol. 1, was published in 2020 in conjunction with For Keeps Books, Atlanta. — Daniel Fuller, Freelance Curator https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1615344610557-005LCLUFZ472YHA9NQFG/_DSC0183-2%2Bcopy.jpg Exhibitions: Y. Malik Jalal KY - Y. Malik Jalal, Prayers in the Night Sky, 2021, steel rebar, bronze, and found bus tokens, 47 x 26 x 21 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1615346769096-I6PNFDSX5YFX9ETUVKTP/_DSC0188%2Bcopy.jpg Exhibitions: Y. Malik Jalal KY - Y. Malik Jalal, Untitled, 2020, found images, rubber, masonry cement, and acrylic, 27 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1615348303894-72TPUIO3OHG1XYCUP1GP/_DSC0190%2Bcopy.jpg Exhibitions: Y. Malik Jalal KY - Y. Malik Jalal, Untitled, 2020, found images, photographs, and fabric on steel, 48 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1615350095331-Y0JN6J3CVXG963QH1PSC/_DSC0196+copy.jpg Exhibitions: Y. Malik Jalal KY - Y. Malik Jalal, This Epic Struggle, 2020, found toolbox and images, cast iron, forged steel, 30 x 35.5 x 26 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1615352300333-IW1XQOFXEW2GYVNPK7P3/_DSC0199%2Bcopy.jpg Exhibitions: Y. Malik Jalal KY - Y. Malik Jalal, Equestrian Study #1, 2021, steel, 24 x 20 x 20 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1615354131664-Y2GYVPGP0NEBAYYZ2GAL/_DSC0200+copy.jpg Exhibitions: Y. Malik Jalal KY - Y. Malik Jalal, Chucky Painting #1, 2021, acrylic on plywood, 36 x 47 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1617137235154-Z92UOEWQ8R06PRPOCEKW/_DSC0213.jpg Exhibitions: Y. Malik Jalal KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1617137219460-VCX5Q6W2T7C8N42MTJPK/_DSC0205.jpg Exhibitions: Y. Malik Jalal KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1617137255950-72B5NFGKHR04YEBT8DFF/_DSC0210.jpg Exhibitions: Y. Malik Jalal KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1617137287128-KZP5U0LE6DX9MQIYGX7T/_DSC0209.jpg Exhibitions: Y. Malik Jalal KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1617137281081-X13LQA8WM145WMGAHC6R/_DSC0223.jpg Exhibitions: Y. Malik Jalal KY - Installation view https://www.institute193.org/exhibitions-leroy-almon daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1620404481021-IAP0O33ZG5E9KXAYS3VT/Leroy+Almon+Sr.+by+Roger+Manley.jpeg Exhibitions: Leroy Almon KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1620404481021-IAP0O33ZG5E9KXAYS3VT/Leroy+Almon+Sr.+by+Roger+Manley.jpeg Exhibitions: Leroy Almon KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1620408979928-YG4VHIPL5NQYD8PK5CKT/Leroy+Almon+Sr.+by+Roger+Manley.jpeg Exhibitions: Leroy Almon KY - Leroy Almon, Tallapoosa, GA, 1987, photographed by Roger Manley. Leroy Almon: The Miracle Book May 7 - June 12, 2021 Lexington, KY “Your life is a book. And every day is a page … and one day that book will be read to you and you can’t deny it because you’ve written it.”* So went God’s words to preacher and woodcarver Elijah Pierce. Trained in woodcarving and dedicated to his faith, Pierce incorporated this vision into his work all his life, eventually passing it on to his gifted apprentice: Leroy Almon. A non denominational preacher and woodcarver, Almon’s work delivers a serialized telling of the life of Christ through iconographic illustrations. Rendered in acrylic on thin pieces of soft wood, the framed pages are joined with pieces of rope, resulting in a series of bulky and Biblical flip books titled: “The Miracle Book”. Each of Almon’s tomes address a sacred event in the Christian consciousness – Crucifixion, Resurrection, Paradise, and beyond. The scriptures of Matthew, Mark, Luke and John are retold through this pictorial narrative, portraying Jesus in his most astonishing moments – forgiving the sinful, healing the sick, and raising the dead. Such parables serve to remind believers of Christ’s sacrifices and miracles, while Edenic scenes allude to the afterlife of faithful, Christian souls. Leroy Almon spent the first half of his life as a shoe salesman until meeting Pierce in 1981. The two became friends, and Almon’s apprenticeship began, offering him a way to express his ideas and beliefs through low relief wood carvings and painted scenes. Elijah Pierce’s visions, as well as his “The Book of Wood” (1932) served as a starting point for Almon’s many volumes. In elaborating on Pierce’s designs and methods, Almon built upon a generational tradition, ultimately maintaining a full-time artistic career until the end of his life. In addition to his painted volumes, Almon is known for his low relief wood carvings fashioned from a pocket knife and a hand chisel. These other works span beyond the Bible, addressing socio-political themes and the observations of his lived experience. Yet Almon’s religious tradition informs all of his work beyond “The Miracle Book,” placing historic events and political institutions in a context of good or evil. Leroy Almon was born in Tallapoosa, Georgia in 1938, and passed away in Tallapoosa, Georgia in 1997. Leroy Almon: The Miracle Book is the first exhibition dedicated to his artistic endeavors separate from Elijah Pierce. Almon’s works are in the collections of the Smithsonian American Art Museum, the High Museum, and the Minneapolis Institute of Art, among others. *June Donmoyer, “Elijah Pierce: Woodcarver,” Antique Review Preview, August 1985, and Judith Fradin, “Adapting to the New World,” Footsteps, n.d. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1621348515402-5WPEV4V2EXKOTX1B1C4T/image-asset.jpg Exhibitions: Leroy Almon KY - Leroy Almon, The Miracle Book #11 (Luke 7, 11-17), 1985, wood, paint, glitter, 13.5 x 16 inches.
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1621348494936-0NCV3D6HQ0AZYRJ6MW1C/5%25252BMiracles%25252Bof%25252BJesus%25252B%2525252310.jpg Exhibitions: Leroy Almon KY - Leroy Almon, 5 Miracles of Jesus #10 (Matt. 8, 5-13), 1985, wood, glitter, 13.5 x 16 inches.
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1621348475445-KOW8RQIXHUXVCN2QM8RE/The%25252BMiracle%25252BBook%25252B%2525252323.jpg Exhibitions: Leroy Almon KY - Leroy Almon, The Miracle Book #23 (Matt. 17, 1-13), 1985, wood, paint, 13.5 x 16 inches.
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1621348423294-IV0DUCBFVKNN105GGK6Z/The%25252BMiracle%25252BBook%25252B%2525252314.jpg Exhibitions: Leroy Almon KY - Leroy Almon, The Miracle Book #14 (Matt. 8, 18-27), 1985, wood, paint, glitter, 13.5 x 16 inches.
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1620672186028-JPTW2L28KADLS3RLR3Z6/Almon_Horiz_Crop_Test.jpg Exhibitions: Leroy Almon KY - Leroy Almon, Paradise, 1985, carved wood, paint, wood frame, 23.5 x 25.5 inches.
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1621444966748-109WZ7JSY6N1O9ENYFRH/Untitled%2B%2528The%2BResurection%2529%2Bcopy.jpg Exhibitions: Leroy Almon KY - Leroy Almon, Untitled (The Resurrection), 1981, carved wood, paint, wire. 25.5 x 14.75 inches with frame. 20 x 8 without frame. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1621348152889-GWZJ6KQ5W5SZ2AI4P3PA/Untitled%252B%252528Crucifix%252529%252Bcopy.jpg Exhibitions: Leroy Almon KY - Leroy Almon, Untitled (Crucifix), date unknown, carved wood, paint, 24 x 11 x 1 inches. 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1622049153202-FBGATZVQ8DUYG8HJFCEF/0521%E2%80%94Institute+193+Install%E2%80%94Miracle+of+Jesus%E2%80%94Stiltner%E2%80%94untitled-0849.jpg Exhibitions: Leroy Almon KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1622049216641-YA8QR8737WH8HRG7TTKL/0521%E2%80%94Institute+193+Install%E2%80%94Miracle+of+Jesus%E2%80%94Stiltner%E2%80%94untitled-0844.jpg Exhibitions: Leroy Almon KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1621354178596-9K9P4VW3ZH412J30M82T/0521%E2%80%94Institute+193+Install%E2%80%94Miracle+of+Jesus%E2%80%94Stiltner%E2%80%94-0279.jpg Exhibitions: Leroy Almon KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1621354605331-867VSA1N9YW4112LBL7A/0521%E2%80%94Institute+193+Install%E2%80%94Miracle+of+Jesus%E2%80%94Stiltner%E2%80%94-0270.jpg Exhibitions: Leroy Almon KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1621355409960-BO02ASWEC5JEZ3I90Z39/0521%E2%80%94Institute+193+Install%E2%80%94Miracle+of+Jesus%E2%80%94Stiltner%E2%80%94-0277.jpg Exhibitions: Leroy Almon KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1621354417389-ZGNK9TJ11PQETLDK5MFG/0521%E2%80%94Institute+193+Install%E2%80%94Miracle+of+Jesus%E2%80%94Stiltner%E2%80%94-0274.jpg Exhibitions: Leroy Almon KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1621354899610-CM4D656F4A001IJOMYL2/0521%E2%80%94Institute+193+Install%E2%80%94Miracle+of+Jesus%E2%80%94Stiltner%E2%80%94-0280.jpg Exhibitions: Leroy Almon KY - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1621355059120-52PDTSRTW0GIZQ1SQXQB/0521%E2%80%94Institute+193+Install%E2%80%94Miracle+of+Jesus%E2%80%94Stiltner%E2%80%94-0304.jpg Exhibitions: Leroy Almon KY - Installation View https://www.institute193.org/exhibitions-dianna-settles daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1623347010877-4O21Z3RETEZXN4EZDPJ3/IMG_4204.jpg Exhibitions: Dianna Settles https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1623347110644-EDGFDN69UZBRIRKDECSF/IMG_4204.jpg Exhibitions: Dianna Settles - The warm and hot baths' insistence on our porosity: confine your measure to the boundary of the sky (water is the only one who knows what has always been), 2021, acrylic, colored pencil, 32 x 48 in Dianna Settles: Olly Olly Oxen Free June 17 - July 31, 2021 Lexington, KY In a self-portrait set inside a jjimjilbang (찜질방, Korean spa and bathhouse) called Jeju Sauna, Dianna Settles sits perched atop an urn-shaped stool with a towel draped over her head. Prickling swirls of hot sauna steam envelop her body and meld with the variegated patterns of jade tiles surrounding her. Elsewhere, a group of people in a dry sauna rest sprawled across the floor in their loose orange spa uniforms, while another painting depicts the artist and other bathers sitting by a public bath as two Korean women scrub the bodies of patrons using exfoliating mitts. Alongside these tranquil scenes from the jjimjilbang, Dianna Settles’s paintings draw from memories of Brazilian jiu-jitsu practice with friends, protests, and time spent in jail. These works, in her words, are linked in their reflections on communal joy, autonomy, and shared power, and also provide a glimpse into the institutions that are threatened by this collective power and threaten to take it away. Superficially paralleling the Jeju Sauna experience, admission into jail also involves a stripping of one’s clothes in exchange for an orange uniform. Yet jails and prisons isolate and punish individuals, while the spa promotes communal gathering and self-care. Vulnerability in these spaces shifts in the body’s freedom or confinement. The shyness in nakedness at a public bath melts away in time but in jail, people are always made vulnerable through surveillance and the inherently violent and dehumanizing carceral system. Rethinking and rebuilding a world without prisons and police always begs the question, “what will replace them?”* When no longer relying on police, individuals can take matters into their own hands by learning self-defense skills to protect themselves and each other. Settles and friends enact this form of community care together in their jiu-jitsu practice, seen in large-scale paintings that capture the expansive feeling of joy in collective movement. And while people are present in all other paintings, a solitary exception is a small painting of an Atlanta cop car set ablaze. When envisioning what cop-free communities might look like, this work captures the energy and raw potential that can take us there. Beginning as written inventories, Settles’s compositions gather experiences and memories in a collective history of people and objects. Stylizing rich environments where the figures of her friends and community members are rendered with the utmost care, her detailed handiwork reveals meticulously drawn tattoos, book titles,** the design of a Chinese wan shou wu jiang (萬壽無疆, boundless longevity) mug, and Atlanta protest fliers. Objects, while rooted to their material existence, serve as symbols of people, places, and historical events, and even the paintings themselves are deeply connected to the artist and her friends with collaboratively made wood panels and homemade gesso. All elements are imbued with meaning that speaks to their greater interconnectedness. It is this emphasis on communal bonds that bring to mind Angela Y. Davis’s words, “It is in collectivities that we find reservoirs of hope and optimism.” In these wellsprings, hope bubbles forth from collective struggle, rest, care, and strength to build alternative futures and worlds. Settles provides a brilliant insight into what this work can look like and what genuine community is — not as an aesthetic gesture or utopian ideal — but as lived experience. For those who have been isolated from communal experiences, whose relationship to the present moment has been distanced through performance or discourse, take these works as evidence that there is belonging to be found, to oneself and to others, through active solidarity within the greater movement. — Jooyoung Park (Emma Friedman-Buchanan) * Angela Y. Davis, Are Prisons Obsolete? (2003). ** George Jackson, Blood in My Eye (1972); Marcello Tarì, There is No Unhappy Revolution: The Communism of Destitution (2021); Fumiko Kaneko, The Prison Memoirs of a Japanese Woman (1991); Rebecca Solnit, A Paradise Built in Hell: The Extraordinary Communities that Arise in Disaster (2009). Press: Together in Peace and Protest, by Natalie Weis, Hyperallergic, July 30, 2021 Review: Olly Olly Oxen Free, by Megan Bickel, Ruckus Journal, July 22, 2021 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1624469624440-Y38P6RFYDC2HKOGRRJJM/OllyOllyOxenFree_14.jpg Exhibitions: Dianna Settles - Nothing is not borrowed & hunger doesn't compromise together we made this place together we can leave it, 2021, acrylic and colored pencil on panel with poplar, 44 x 76 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1623347289292-Y2KDY498L1AO6ZND4Y2H/IMG_4246.jpg Exhibitions: Dianna Settles - Steam like stinging nettles, 2021, acrylic and colored pencil on panel, 11 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1623348260775-YCL8KFYI1O87EQLY0XUV/IMG_4261.jpg Exhibitions: Dianna Settles - We must exist more and heavier // we are learning discipline everyday, bench pressing, jiu-jitsu training, training for our future study, 2021, acrylic and colored pencil on panel, 32 x 48 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1624558481815-I1WME6Z5X4G02QC7418F/IMG_4230.jpg Exhibitions: Dianna Settles - It’s forbidden to put life on the table and would in no way serve to be enchanted by the scent of a carnation., 2021, acrylic and colored pencil on panel, 
32 x 24 inches.
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1623347280172-JMT57DNHKX0QIPXGS68Y/IMG_4228.jpg Exhibitions: Dianna Settles - Sometimes it feels like is over and it’s not. Sometimes it feels like it has just begun and it’s over.
, 2021, acrylic and colored pencil on panel, 32 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1624469807777-R50KKT51CQ0NQAH37GM3/OllyOllyOxenFree_13.jpg Exhibitions: Dianna Settles - May our only struggle once again be the ultimate struggle within our own mind/heart the struggle to open further open to all humans to all beings to all that can be, 2021, acrylic, colored pencil https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1624469824079-BKQX7U9UPKRQBJ6UW2XS/OllyOllyOxenFree_12.jpg Exhibitions: Dianna Settles - Deep stretching, deep pulling, deep sweating, deep breathing ( A feeling that at moments hinted at rivers running backwards ), 2021, acrylic and colored pencil on panel, 32 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1624558386804-FCQWC2GSC85MN650Y9RQ/image-asset.jpeg Exhibitions: Dianna Settles - Dianna Settles, That Summer feeling, 2021, acrylic and colored pencil on panel, 11 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1624470642681-D6IIBT2MH7AHIUGRWENH/OllyOllyOxenFree_Center.jpg Exhibitions: Dianna Settles - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1624470655845-PNB8ZZKA717S8AFGWCCQ/OllyOllyOxenFree_SouthWestWall.jpg Exhibitions: Dianna Settles - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1624470671769-GNFFVSJD3T42QB18ZRLY/OllyOllyOxenFree_WestWall.jpg Exhibitions: Dianna Settles - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1624470684849-6O3599RCIT5U3S2GKOM3/OllyOllyOxenFree_WestNorthWall.jpg Exhibitions: Dianna Settles - Installation view https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1624473758260-K67VOG5IZJ7M3WCZG432/OllyOllyOxenFree_NorthWall.jpg Exhibitions: Dianna Settles - Installation view https://www.institute193.org/exhibitions-mikegoodlett daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630531635560-5VU9JLO5ZVSMUBOUJ8FD/Mike+Goodlett%2C+2019+by+Guy+Mendes..jpg Exhibitions: Mike Goodlett - The Visiting Hour (Some Are Ghosts)—detail, 2007, wood, ballpoint pen, paper, and glass, 42 x 29 x 6.5 inches. Collection of Jim Gray. Mike Goodlett: Desire Itself August 28 - October 2, 2021 Lexington, KY Desires are fleeting. Once we satisfy them, they escape us. This cycle inspires a long-debated question: what’s more fulfilling—the having, or the yearning? For Mike Goodlett, longing was a source of creation. He luxuriated in this place of tension, the moments when we risk being consumed by our impulses, when the mind hungrily explores what reality has yet to embody. It was a central theme that resonated within much of his work. Desire Itself, an exhibition solely comprised of the late artist’s shadowbox dioramas, serves as both memorial and celebration. Goodlett’s home was at the heart of his oeuvre, the site of a decades-long visual call-and-response between the house’s elements and his own artistic production. These dioramas function as microcosms of that place in both their dogma and whimsy; mysterious symbols and intricate adornments mimic the embellishments of the home where paper flowers bloom from cracks in the ceiling and sculptures emerge from holes in the floor. Not unlike his home, the artist’s shadowboxes reveal maximal installations constructed from carved wooden casings, paper forms, and delicate, glittering accents. Objects rest curiously within the frames: ribbons spiral among cutout chandeliers, life-size paper cigarettes are stubbed on the floors, and—just as in Goodlett’s house—wide eyes omnisciently and hungrily take in the scene. The intricate architecture of these sculptures offers bold delights, while their subtlest details cache secret messages within pieces of rolled paper—hidden notes and snippets of writing torn from the artist’s private notebooks. These humble journals were as detailed and mysterious as any artwork, intimate tools for exploring and mediating his moods and inclinations. Containing long lists of grievances and fears, cravings, and wishes, the notebooks were at the heart of Goodlett’s practice, the foundation upon which his work was literally and conceptually built. These shadowboxes contain all that survive of them—the others have been hidden from our prying eyes, destroyed by Goodlett shortly before his passing. Goodlett’s works are markers of sensations past. They are the expressions of an artist who preferred to conceal his desires from the judgements of those who would seek to condemn him, instead imagining another place to pursue adventures and record his dreams. These shadowboxes—the preface to the sleek, graphic works that would follow—remind us of the breadth of such a creator, the range of his abilities and his world. Here we may explore a place of curiosity, ambiguity, and freedom, born from the mind and hands of the person who most understood the need for it. Our desires may inspire us, consume us, and even torture us. Goodlett suggests: let them. - A few months prior to his death, Mike Goodlett generously donated his home and land to Institute 193, with whom he had a long-standing relationship. His intention was to start a residency program to welcome artists, writers, poets, journalists, curators, and others to spend time in the place that he loved. He suggested that they might feel like he did as a young man, like a character from Robinson Crusoe, or a castaway in landlocked Central Kentucky, surviving only on his wits. In the coming months, Institute 193 will honor his wish, creating such a place from his home. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630531635560-5VU9JLO5ZVSMUBOUJ8FD/Mike+Goodlett%2C+2019+by+Guy+Mendes..jpg Exhibitions: Mike Goodlett - The Visiting Hour (Some Are Ghosts)—detail, 2007, wood, ballpoint pen, paper, and glass, 42 x 29 x 6.5 inches. Collection of Jim Gray. Mike Goodlett: Desire Itself August 28 - October 2, 2021 Lexington, KY Desires are fleeting. Once we satisfy them, they escape us. This cycle inspires a long-debated question: what’s more fulfilling—the having, or the yearning? For Mike Goodlett, longing was a source of creation. He luxuriated in this place of tension, the moments when we risk being consumed by our impulses, when the mind hungrily explores what reality has yet to embody. It was a central theme that resonated within much of his work. Desire Itself, an exhibition solely comprised of the late artist’s shadowbox dioramas, serves as both memorial and celebration. Goodlett’s home was at the heart of his oeuvre, the site of a decades-long visual call-and-response between the house’s elements and his own artistic production. These dioramas function as microcosms of that place in both their dogma and whimsy; mysterious symbols and intricate adornments mimic the embellishments of the home where paper flowers bloom from cracks in the ceiling and sculptures emerge from holes in the floor. Not unlike his home, the artist’s shadowboxes reveal maximal installations constructed from carved wooden casings, paper forms, and delicate, glittering accents. Objects rest curiously within the frames: ribbons spiral among cutout chandeliers, life-size paper cigarettes are stubbed on the floors, and—just as in Goodlett’s house—wide eyes omnisciently and hungrily take in the scene. The intricate architecture of these sculptures offers bold delights, while their subtlest details cache secret messages within pieces of rolled paper—hidden notes and snippets of writing torn from the artist’s private notebooks. These humble journals were as detailed and mysterious as any artwork, intimate tools for exploring and mediating his moods and inclinations. Containing long lists of grievances and fears, cravings, and wishes, the notebooks were at the heart of Goodlett’s practice, the foundation upon which his work was literally and conceptually built. These shadowboxes contain all that survive of them—the others have been hidden from our prying eyes, destroyed by Goodlett shortly before his passing. Goodlett’s works are markers of sensations past. They are the expressions of an artist who preferred to conceal his desires from the judgements of those who would seek to condemn him, instead imagining another place to pursue adventures and record his dreams. These shadowboxes—the preface to the sleek, graphic works that would follow—remind us of the breadth of such a creator, the range of his abilities and his world. Here we may explore a place of curiosity, ambiguity, and freedom, born from the mind and hands of the person who most understood the need for it. Our desires may inspire us, consume us, and even torture us. Goodlett suggests: let them. - A few months prior to his death, Mike Goodlett generously donated his home and land to Institute 193, with whom he had a long-standing relationship. His intention was to start a residency program to welcome artists, writers, poets, journalists, curators, and others to spend time in the place that he loved. He suggested that they might feel like he did as a young man, like a character from Robinson Crusoe, or a castaway in landlocked Central Kentucky, surviving only on his wits. In the coming months, Institute 193 will honor his wish, creating such a place from his home. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630533173685-G8JRVG0W9OU0JLZL43TR/image.jpg Exhibitions: Mike Goodlett - Mike Goodlett, Untitled, 2001-2007, wood, glass, paper, ballpoint pen, 25 x 16 x 4 inches. Collection of Ouita Michel. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630533195659-9IQR0B2895QN3XE5J08U/mg4.png Exhibitions: Mike Goodlett - Mike Goodlett, Dollhouse Asylum, 2006, wood, glass, paper, ballpoint pen, 48 x 38 x 6.5 inches. Collection of Leslie Beatty. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630533228395-WYIJQGMAHAQSMWFCXO89/image-asset.jpeg Exhibitions: Mike Goodlett - Mike Goodlett, Untitled, 2001-2007, wood, glass, paper, ballpoint pen, 40 x 32 x 9 inches. Collection of Jim Gray. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630594563272-SX495YDPLJUTTOCK70BX/mike+goodlett+shadow+box.jpg Exhibitions: Mike Goodlett - Mike Goodlett, An Aspect of the Divine Life (Society Indoors), 2001-2007, wood, glass, paper, ballpoint pen, pearls, 36 x 27 x 6.5 inches. Collection of Lina Tharsing. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630533255525-Y2BP6KQCJUPJFTA5JGFW/mg1.jpg Exhibitions: Mike Goodlett - Mike Goodlett, An Aspect of the Divine Life (which in spite of its concealment seeks to become known), 2001-2007, wood, glass, paper, ballpoint pen, 47.5 x 38 x 6.5 inches. Collection of Lisa Meek. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630533760527-1Q2IVC7CDELRH33R4KT2/mg2+copy.png Exhibitions: Mike Goodlett - Mike Goodlett, Untitled, 2001-2007, wood, glass, paper, ballpoint pen, 46 x 35 x 6.5 inches. Collection of Jim Gray. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630533605942-S74LRF28FC2PG6TOIRLQ/mg3+copy.png Exhibitions: Mike Goodlett - Mike Goodlett, The Visiting Hour (Some Are Ghosts), 2007, wood, glass, paper, ballpoint pen, 42 x 29 x 6.5 inches. Mike Goodlett was born in 1958 in Lexington, KY. He passed away on June 30, 2021 in Wilmore, KY.

 He earned a BFA from the Art Academy of Cincinnati in 1983. Solo exhibitions include NADA House 2021 (Governors Island, NY) and Chez Lui at MARCH (Kentucky) in 2021, Mike Goodlett: Almost Folly at Tops Gallery (Memphis, TN) and the Atlanta Biennial (Atlanta, GA) in 2019, Human Behavior at the John Michael Kohler Art Center (Sheboygan, WI) 2016, HOMEBODY at Christian Berst Art Brut (New York, NY) in 2015, and Dress Socks and Other Diversions at Institute 193 (Lexington, KY) in 2011.

Goodlett has been included in exhibitions at the University of Kentucky Art Museum (Lexington, KY), SHRINE (New York, NY), The Elaine de Kooning House (East Hampton, NY), Atlanta Contemporary Art Centre (Atlanta, GA), Museum of Contemporary Art of Georgia (Atlanta, GA), and KMAC Museum (Louisville, KY). https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630769406545-4TA83KAF5XPM0KR486H9/DesireItselfInstall5.jpg Exhibitions: Mike Goodlett - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630768623297-IT7BTJCVHKXJRS6SHVZC/DesireItselfInstall1.jpg Exhibitions: Mike Goodlett - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630769361714-8GPPCU5JPFBXSNASW27L/DesireItselfInstall2.jpg Exhibitions: Mike Goodlett - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630769381699-AIMJ098B6BDC7AI4JD75/DesireItselfInstall3.jpg Exhibitions: Mike Goodlett - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630769399556-F7XFGRYSMEQP3KIQYYOR/DesireItselfInstall4.jpg Exhibitions: Mike Goodlett - Installation view, photo by Josh Porter https://www.institute193.org/exhibitions-molly-zg daily 0.75 2023-03-04 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1632848462149-WP3STY0WWKO9EZDRJU80/image-asset.jpeg Exhibitions: Molly Z.G. - Collage of work made for the exhibition provided by the artist. Molly Z.G.: Almost Heaven :^) October 7 - November 6, 2021 Lexington, KY 
After seeing James Cameron's science-fiction film The Terminator (1984) several times, Molly Z.G. (they/them) dreamt that when a person dies, their body is sent to a steel mill, melted down, and forged anew to resemble the chrome cyborg assassin of the movie––an irregular and unnerving rebirth. Growing up in a Catholic family in Pittsburgh, Z.G. was familiar with Christian iconography, and imagined parallels between the steel mills where their parents worked and the factories of Cameron's dystopian world. The conversations between these two experiences––the religious and the post-apocalyptic––form a dark and fantastical narrative, one that Z.G. navigates with deft, clever artistry and a sense of cheerful nihilism. Notions of fantasy, labor, and resurrection are synthesized to build immersive and witty installations, recapturing dreams and summoning reverence. Mounted on the wall to resemble the stained glass windows of a cathedral, Z.G.’s rugs are made of yarn, monks cloth and velvet, incorporating latin phrases alongside pop-culture imagery and designs to a humorous effect. An oval rug titled god’s hand (2021) demonstrates this anachronistic approach, depicting a gesturing blue hand framed by two pistols, positioned above a 90s-era PC and a two-headed horse dated 2900. This fusion of Christian imagery and pop culture yields a visual language entirely unique to Z.G., one in which the absurdity of life after death within the context of Catholicism becomes a stance worthy of ridicule, or at the very least, the set up for a punchline. In the construction of this sacred space, religious iconography and the influence of Cameron's realm remain foundational, but their contemporary take on craft deviates from tradition, cheekily implying that holiness does not come from God, but Appalachia. “I feel connected to these struggles because I am Appalachian, and my whole family is. And that has been my world,” says Z.G. They currently live in Southwest Virginia, having left the church and their hometown in the process. Z.G.'s current relationship to the divine is processed through brightly colored and wonderfully irreverent textiles, repurposing biblical stories and teachings in service of the working class struggles and politics in which they currently engage. Their version of the technicolor dreamcoat, stitched across the back of a garment reminiscent of that worn by a clergyman, reads “May the Lord take a liken to you.” Sourced from an image of the Pittston Coal Mine Strike of 1989, the phrase turns religion against the oppressor in a campaign to address class conflict. In Z.G.’s world, Jesus wears a construction vest. Outside of the studio, Z.G. is the co-founder and member of nonprofit initiative Future Economy Collective, a role that furthers their reach into the possibilities of community void of religious and state-run authority figures. Beginning in 2020, the group opened SOUTHPAW, a flexible-use community space and volunteer-run cafe, which supports grassroots organizing efforts and mutual aid projects in the New River Valley. Currently raising funds to operate a new location, the FEC carries on the traditions so deeply ingrained in Appalachia of skill-sharing, harm reduction, and collective education. Z.G’s distinctive world-building––both in the gallery and in daily life––revolves around the golden rule so central to and yet tragically ignored by the region: that by caring for our neighbors and the land ourselves, we stand the best chance of survival and ultimately, salvation. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1632848462149-WP3STY0WWKO9EZDRJU80/image-asset.jpeg Exhibitions: Molly Z.G. - Collage of work made for the exhibition provided by the artist. Molly Z.G.: Almost Heaven :^) October 7 - November 6, 2021 Lexington, KY 
After seeing James Cameron's science-fiction film The Terminator (1984) several times, Molly Z.G. (they/them) dreamt that when a person dies, their body is sent to a steel mill, melted down, and forged anew to resemble the chrome cyborg assassin of the movie––an irregular and unnerving rebirth. Growing up in a Catholic family in Pittsburgh, Z.G. was familiar with Christian iconography, and imagined parallels between the steel mills where their parents worked and the factories of Cameron's dystopian world. The conversations between these two experiences––the religious and the post-apocalyptic––form a dark and fantastical narrative, one that Z.G. navigates with deft, clever artistry and a sense of cheerful nihilism. Notions of fantasy, labor, and resurrection are synthesized to build immersive and witty installations, recapturing dreams and summoning reverence. Mounted on the wall to resemble the stained glass windows of a cathedral, Z.G.’s rugs are made of yarn, monks cloth and velvet, incorporating latin phrases alongside pop-culture imagery and designs to a humorous effect. An oval rug titled god’s hand (2021) demonstrates this anachronistic approach, depicting a gesturing blue hand framed by two pistols, positioned above a 90s-era PC and a two-headed horse dated 2900. This fusion of Christian imagery and pop culture yields a visual language entirely unique to Z.G., one in which the absurdity of life after death within the context of Catholicism becomes a stance worthy of ridicule, or at the very least, the set up for a punchline. In the construction of this sacred space, religious iconography and the influence of Cameron's realm remain foundational, but their contemporary take on craft deviates from tradition, cheekily implying that holiness does not come from God, but Appalachia. “I feel connected to these struggles because I am Appalachian, and my whole family is. And that has been my world,” says Z.G. They currently live in Southwest Virginia, having left the church and their hometown in the process. Z.G.'s current relationship to the divine is processed through brightly colored and wonderfully irreverent textiles, repurposing biblical stories and teachings in service of the working class struggles and politics in which they currently engage. Their version of the technicolor dreamcoat, stitched across the back of a garment reminiscent of that worn by a clergyman, reads “May the Lord take a liken to you.” Sourced from an image of the Pittston Coal Mine Strike of 1989, the phrase turns religion against the oppressor in a campaign to address class conflict. In Z.G.’s world, Jesus wears a construction vest. Outside of the studio, Z.G. is the co-founder and member of nonprofit initiative Future Economy Collective, a role that furthers their reach into the possibilities of community void of religious and state-run authority figures. Beginning in 2020, the group opened SOUTHPAW, a flexible-use community space and volunteer-run cafe, which supports grassroots organizing efforts and mutual aid projects in the New River Valley. Currently raising funds to operate a new location, the FEC carries on the traditions so deeply ingrained in Appalachia of skill-sharing, harm reduction, and collective education. Z.G’s distinctive world-building––both in the gallery and in daily life––revolves around the golden rule so central to and yet tragically ignored by the region: that by caring for our neighbors and the land ourselves, we stand the best chance of survival and ultimately, salvation. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634846710936-ZLSZMQ8B3OD62RXPXLZQ/IMG_3271.jpg Exhibitions: Molly Z.G. - Molly Z.G., four horsemen of the apocalypse, 2020, yarn, monks cloth, fur, velvet, 18 x 28 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634846728646-5U1GJNOLXVZAVE9E8451/IMG_3269.jpg Exhibitions: Molly Z.G. - Molly Z.G., four horsemen of the apocalypse, 2020, yarn, monks cloth, fur, velvet, 18 x 28 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634847594110-TK3RF59EJ7RFIJRK0MEG/IMG_3272.jpg Exhibitions: Molly Z.G. - Molly Z.G., four horsemen of the apocalypse, 2020, yarn, monks cloth, fur, velvet, 18 x 28 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634846799286-P5NJINLEGTVNFBF1LM27/IMG_3276.jpg Exhibitions: Molly Z.G. - Molly Z.G., four horsemen of the apocalypse, 2020, yarn, monks cloth, fur, velvet, 18 x 28 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634852814710-YRSY4IK71277S1TPWL5D/IMG_3282.jpg Exhibitions: Molly Z.G. - Molly Z.G., all burner phones crushed in parking lots go to heaven, 2020, yarn, monks cloth, velvet, 48 x 17 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634846829300-TY9G1ETP4ZUOXSJTPKSU/IMG_3291.jpg Exhibitions: Molly Z.G. - Molly Z.G., Pinball Machine, 2021, toy pinball machine, LED lights, diffuser, wood, doll parts, 50 x 16.5 X 32 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634846862526-I58Q371RN50DZTX87ZEI/IMG_3287.jpg Exhibitions: Molly Z.G. - Molly Z.G., manifest destiny, 2021, cotton polyester, 84 x 44 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634846887425-YFHD46P988704VNP77GL/IMG_3253.jpg Exhibitions: Molly Z.G. - Molly Z.G., land’s end, 2021, yarn, monks cloth, velvet, 45 x 26 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634847134623-ZTOXDQBLQAMJU6IQ3PJE/IMG_3249.jpg Exhibitions: Molly Z.G. - Molly Z.G., god willing, 2021, yarn, monks cloth, velvet, 45 x 31 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634847116092-9VP4KQ27GVGJU5RG6EKX/IMG_3254.jpg Exhibitions: Molly Z.G. - Molly Z.G., god’s hand, 2021, recycled yarn, monks cloth, 60 x 32 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634847150066-0EE97H6Z6XYZR86F6YQG/IMG_3256.jpg Exhibitions: Molly Z.G. - Molly Z.G., my voyeur, 2021, yarn, monks cloth, velvet, 51 x 27 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635020766284-B9KCBZHJ46WR5HLA5LEH/IMG_3264_2+copy.jpg Exhibitions: Molly Z.G. - Molly Z.G., an army of lovers, 2020, recycled yarn, monks cloth, velvet, 45 x 17 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635258503047-FNP44G5SGLPZ577OW6MC/coatcopy+copy.png Exhibitions: Molly Z.G. - Molly Z.G., where do we go when we die? pittsburgh?, 2019, yarn, monks cloth, 43 x 40 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634395011604-WK475EROP6MY4RM2SFNR/IMG_3328.jpg Exhibitions: Molly Z.G. - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634395744983-LIXFCRVZNSNUXH2BBNYB/IMG_3336.jpg Exhibitions: Molly Z.G. - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634395440543-FM4XYOWXWF1OM3VWLPKJ/IMG_3339.jpg Exhibitions: Molly Z.G. - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634395369949-JAM7M747BPHE60PSXQYU/IMG_3346.jpg Exhibitions: Molly Z.G. - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1634928387115-PPL4IY2MWF301FPD5E5J/IMG_3398.jpg Exhibitions: Molly Z.G. - Installation view, photo by Josh Porter https://www.institute193.org/exhibitions-rosemariecromwell daily 0.75 2023-03-04 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635444587985-D3R3ZYQLEC4TT5AZJM9B/image-asset.jpeg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, A More Fluid Atmosphere.  Rose Marie Cromwell: A More Fluid Atmosphere November 10 - December 18, 2021 Lexington, KY Rose Marie Cromwell is a Miami-based artist whose work is rooted in the language of documentary photography but subverts many of its tropes by creating tension between the real and the fabricated, the autobiographical and the political to convey lyrical stories about contemporary life, particularly in the Caribbean and Latin America. While her photographs critically address issues of politics, economic injustice, and climate change, Cromwell takes a sidelong approach, revealing how these powerful forces subtly manifest in the built environment or the human body. Though they depict everyday objects and commonplace scenes, her photographs often verge on abstraction to express dreamlike states and a sense of disorientation in the face of globalization. “A More Fluid Atmosphere” is Cromwell’s ongoing body of work about Miami, a city literally and metaphorically at the edge of the United States that exemplifies the country’s most acute cultural syncretism, severe economic inequalities, ostentatious excesses, and precarious environmental state. Her photographs present a vision of Miami distinct from its prevailing depiction in popular media as a sleek and glamorous playground. Cromwell concentrates on the city’s lesser-known industrial, residential, and commercial spaces to capture its multicultural realities and economic disparities. These contrasts articulate a place where deep spirituality and global commerce are present on nearly every corner. Cromwell’s approach to the medium of photography is expansive and open-ended. She is keenly interested in the potential intersections of photography and sculpture. For this exhibition, in addition to prints framed in a conventional manner, Cromwell introduced unconventional presentation methods, such as mounting photographs to raw plywood and printing on commercial vinyl fabric, in order to bring the images and the materials they depict closer together. Cromwell is particularly adept at channeling the materiality of her subjects—a heap of scrap brass, a bag of ripe fruit, or a scraped knee—to tell tangible though not easily visible stories about the city. Taking full advantage of the intense south Florida light, she playfully deploys vibrant color and rich texture to throw easily overlooked indicators or wider cultural and economic shifts into stark relief. - Gregory Harris, High Museum of Art’s Keough Family Curator of Photography https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635444587985-D3R3ZYQLEC4TT5AZJM9B/image-asset.jpeg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, A More Fluid Atmosphere.  Rose Marie Cromwell: A More Fluid Atmosphere November 10 - December 18, 2021 Lexington, KY Rose Marie Cromwell is a Miami-based artist whose work is rooted in the language of documentary photography but subverts many of its tropes by creating tension between the real and the fabricated, the autobiographical and the political to convey lyrical stories about contemporary life, particularly in the Caribbean and Latin America. While her photographs critically address issues of politics, economic injustice, and climate change, Cromwell takes a sidelong approach, revealing how these powerful forces subtly manifest in the built environment or the human body. Though they depict everyday objects and commonplace scenes, her photographs often verge on abstraction to express dreamlike states and a sense of disorientation in the face of globalization. “A More Fluid Atmosphere” is Cromwell’s ongoing body of work about Miami, a city literally and metaphorically at the edge of the United States that exemplifies the country’s most acute cultural syncretism, severe economic inequalities, ostentatious excesses, and precarious environmental state. Her photographs present a vision of Miami distinct from its prevailing depiction in popular media as a sleek and glamorous playground. Cromwell concentrates on the city’s lesser-known industrial, residential, and commercial spaces to capture its multicultural realities and economic disparities. These contrasts articulate a place where deep spirituality and global commerce are present on nearly every corner. Cromwell’s approach to the medium of photography is expansive and open-ended. She is keenly interested in the potential intersections of photography and sculpture. For this exhibition, in addition to prints framed in a conventional manner, Cromwell introduced unconventional presentation methods, such as mounting photographs to raw plywood and printing on commercial vinyl fabric, in order to bring the images and the materials they depict closer together. Cromwell is particularly adept at channeling the materiality of her subjects—a heap of scrap brass, a bag of ripe fruit, or a scraped knee—to tell tangible though not easily visible stories about the city. Taking full advantage of the intense south Florida light, she playfully deploys vibrant color and rich texture to throw easily overlooked indicators or wider cultural and economic shifts into stark relief. - Gregory Harris, High Museum of Art’s Keough Family Curator of Photography https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635782907924-QH0X2EV4MIMFYQIC2F7M/Rose_Cromwel_portrait_rtpjwm.jpg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635782929496-ZCI2AKI22H8U0FNXSKAY/0201cactus_rtpjwm.jpg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635783042395-FMQMVBX9NT9MEMOCAF7N/Picture+008_rtpjwm.jpg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635782918473-SHDN8VGNFUVKYAJMZ9I8/0301bloodyknees2_rtpjwm.jpg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635783049512-6H80KF58B446QU7MAG8T/RMC_2021_3_+020_rtpjwm.jpg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635783062057-HZ2ZHP9KIGKWETO0U2SO/RMC_2021_3_+013_rtpjwm.jpg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635783080785-NNY5MY5G2J4DHZ4JCHJY/RMC_AlfonsoAndSmone_3_rtpjwm.jpg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635783071324-KZOOCZ6P0BCORZ0SEYQ2/RMC_2021_3_+022_rtpjwm.jpg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635783226747-G72TQ8QGFJ48HDPADBWN/Rose_Cromwel_metalyard%2B001_rtpjwm.jpg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1636384219374-9EG4IMN5EL8LCH52LSZN/RMC_cart-r_rtpjwm.jpg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1636384200382-G5N9T73BA8YRMYGIN3Y8/RMC_2021_3_+026_YellowLeaf_rtpjwm.jpg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1640277050071-21U5U6HSO0DPAM2ASSKA/image-asset.jpeg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, from the series A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1640277106403-1LACG2RVF1OY6IHNN59K/RMC15.jpg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, from the series A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1640277149083-OOEQKO3QSS7RN5UMZWR9/RMC16.jpg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, from the series A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635783097687-S1MKUH9VUY9O4QC6G9FY/RMC_Construction_12x16_spread_rtpjwm.jpg Exhibitions: Rose Marie Cromwell - Rose Marie Cromwell, A More Fluid Atmosphere.  https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1636996921209-NIJ1KOKLXWA0CBF4KJH6/IMG_3598-Edit.jpg Exhibitions: Rose Marie Cromwell - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1636996965647-BJ280M4HQ6SFUSWZMB1T/IMG_3599.jpg Exhibitions: Rose Marie Cromwell - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1636996935781-IANUZB1RTKLTSO3146NU/IMG_3603.jpg Exhibitions: Rose Marie Cromwell - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1636996952007-195ICMS5905WVKE5LZEH/IMG_3608.jpg Exhibitions: Rose Marie Cromwell - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1636997055281-HR94WFOUR3NYYYIERIDK/IMG_3629.jpg Exhibitions: Rose Marie Cromwell - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1636996688571-O5ZL9EL4FOJDQJ7ND3WM/IMG_3617.jpg Exhibitions: Rose Marie Cromwell - Installation view, photo by Josh Porter https://www.institute193.org/exhibitions-hawkins-bolden daily 0.75 2023-03-04 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1642177097611-4CSF0N6W1JRIJOF3XJUY/%2525231.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, metal wire, baby bed frame, foam, twine, 55 x 42.5 x 6 inches. Hawkins Bolden Seated January 12 - March 26, 2022 Hawkins Bolden (American, 1914–2005) In the Smithsonian American Art Museum sits—quite literally—a work by Hawkins Bolden, made from straw-stuffed denim pants reclined in a wooden chair, bound with wire and crowned by a metal wash basin drilled full of holes. The resulting figure has no torso or arms, its form articulated solely by the stuffed lower body of a scarecrow, a composition that is completed by the very things that it is missing. Such a work speaks not only to the experience of the artist, but to a long lineage of craft and the collective desire for expression and freedom. The sculpture originally sat in Bolden’s yard in Bailey’s Bottom, Memphis, watching over the house he shared with his sister, Elizabeth, for nearly 75 years. Born in 1914 to a family of African, Creole, and Native American heritage in Memphis, Tennessee, Bolden was closest to his twin brother, Monroe, with whom he shared a love of handmade radios and baseball. Though Bolden lost his sight at a young age, he continued to work with his hands, helping Monroe with electrical work and beginning to experiment with found materials. This was the beginning of a practice that would span nearly four decades and yield a complex body of work. Bolden’s sculptures were created entirely out of found objects, often sourced from the streets of his neighborhood. Folded shoe soles, drilled and modified metal, wooden scraps, and strips of textile are common elements of the works that are bound together with wire and metal chains. Over the course of Bolden’s career, he experimented with multiple forms, constructing assemblages on wooden posts, two-legged structures, and shield-like tableaux. One of his signature artistic gestures was the creation of scarecrows made from stuffed pairs of work pants––a genus of anthropomorphic sculptures linked by their figurative representations of the lower body. From sight-oriented metal forms covered in eyes to the Christian imagery of wooden crosses, Bolden’s works map his experiences, an extension of all he knew, loved, and feared. The artist worked through some of the most turbulent decades of the Civil Rights Movement and lived a short distance from the Lorraine Motel where Martin Luther King Jr. was assassinated in 1968. This reality, paired with the uncanny naturalism of the works presented here, suggest that perhaps Bolden sought to consider violent events through his distilled forms. While some of the seemingly severed lower extremities are propped by frames and beams, the majority hang limply, unposed. The scarecrow motif evokes paradoxical themes of death and resurrection, conjuring an air of disquietude. The works on view are further defined by the use of recycled clothing, referencing a long tradition of transforming old jeans, overalls, scraps, and rags into functional works of art. Not unlike the quiltmakers of Gee’s Bend, Bolden altered old work pants to complete his artworks. Many of the garments likely came from the artist’s own wardrobe, worn out after years spent drilling, stuffing, and assembling in his garden. These resulting works unnerve and compel with equal might, employing discarded objects and immediate imagery to reference a history of craft, culture, and self. Hawkins Bolden’s work is in the collections of the American Folk Art Museum, New York, NY; the American Visionary Art Museum, Baltimore, MD; the de Young Museum, San Francisco, CA; The High Museum, Atlanta, GA; John Michael Kohler Arts Center Collection, Sheboygan, WI; The Museum of Everything, London, England; Ogden Museum of Southern Art, New Orleans, LA; the Philadelphia Museum of Art, Philadelphia, PA; The Souls Grown Deep Foundation, Atlanta, GA; and The Smithsonian Museum of Art, Washington D.C. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1642177097611-4CSF0N6W1JRIJOF3XJUY/%2525231.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, metal wire, baby bed frame, foam, twine, 55 x 42.5 x 6 inches. Hawkins Bolden Seated January 12 - March 26, 2022 Hawkins Bolden (American, 1914–2005) In the Smithsonian American Art Museum sits—quite literally—a work by Hawkins Bolden, made from straw-stuffed denim pants reclined in a wooden chair, bound with wire and crowned by a metal wash basin drilled full of holes. The resulting figure has no torso or arms, its form articulated solely by the stuffed lower body of a scarecrow, a composition that is completed by the very things that it is missing. Such a work speaks not only to the experience of the artist, but to a long lineage of craft and the collective desire for expression and freedom. The sculpture originally sat in Bolden’s yard in Bailey’s Bottom, Memphis, watching over the house he shared with his sister, Elizabeth, for nearly 75 years. Born in 1914 to a family of African, Creole, and Native American heritage in Memphis, Tennessee, Bolden was closest to his twin brother, Monroe, with whom he shared a love of handmade radios and baseball. Though Bolden lost his sight at a young age, he continued to work with his hands, helping Monroe with electrical work and beginning to experiment with found materials. This was the beginning of a practice that would span nearly four decades and yield a complex body of work. Bolden’s sculptures were created entirely out of found objects, often sourced from the streets of his neighborhood. Folded shoe soles, drilled and modified metal, wooden scraps, and strips of textile are common elements of the works that are bound together with wire and metal chains. Over the course of Bolden’s career, he experimented with multiple forms, constructing assemblages on wooden posts, two-legged structures, and shield-like tableaux. One of his signature artistic gestures was the creation of scarecrows made from stuffed pairs of work pants––a genus of anthropomorphic sculptures linked by their figurative representations of the lower body. From sight-oriented metal forms covered in eyes to the Christian imagery of wooden crosses, Bolden’s works map his experiences, an extension of all he knew, loved, and feared. The artist worked through some of the most turbulent decades of the Civil Rights Movement and lived a short distance from the Lorraine Motel where Martin Luther King Jr. was assassinated in 1968. This reality, paired with the uncanny naturalism of the works presented here, suggest that perhaps Bolden sought to consider violent events through his distilled forms. While some of the seemingly severed lower extremities are propped by frames and beams, the majority hang limply, unposed. The scarecrow motif evokes paradoxical themes of death and resurrection, conjuring an air of disquietude. The works on view are further defined by the use of recycled clothing, referencing a long tradition of transforming old jeans, overalls, scraps, and rags into functional works of art. Not unlike the quiltmakers of Gee’s Bend, Bolden altered old work pants to complete his artworks. Many of the garments likely came from the artist’s own wardrobe, worn out after years spent drilling, stuffing, and assembling in his garden. These resulting works unnerve and compel with equal might, employing discarded objects and immediate imagery to reference a history of craft, culture, and self. Hawkins Bolden’s work is in the collections of the American Folk Art Museum, New York, NY; the American Visionary Art Museum, Baltimore, MD; the de Young Museum, San Francisco, CA; The High Museum, Atlanta, GA; John Michael Kohler Arts Center Collection, Sheboygan, WI; The Museum of Everything, London, England; Ogden Museum of Southern Art, New Orleans, LA; the Philadelphia Museum of Art, Philadelphia, PA; The Souls Grown Deep Foundation, Atlanta, GA; and The Smithsonian Museum of Art, Washington D.C. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1641850770823-KLIVMKUH3AI0A225FCA5/image-asset.jpeg Exhibitions: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, metal wire, metal shelf, leaves, straw, grass, 47 x 24.5 x 7.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1641850292531-CF5ZHNHIMWA9Y29Q4MY8/IMG_3784.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, pants, wood, screw, 43 x 24 x 5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1641850318866-HQ703MMJQ1RK2APMRW7J/IMG_3791.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, twine, coat hanger, 37 x 12 x 7 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1641309908421-X8OJJCYCE5F7EX6LJXNY/IMG_3798.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, twine, coat hanger, 37 x 12 x 7 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1641309916390-261GORQXUCH5P5ZNASNY/IMG_3808.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, coat hanger, 38 x 13 x 6 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1641309936047-BX3TB31J07KHHNHPX0GS/IMG_3826.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, chinos, leaves, straw, grass, twine, coat hanger, 36 x 14 x 5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1641309959725-FHZOZ1RZY59JBMDPWOZR/IMG_3843.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, coat hanger, twine, 34 x 14 x 6 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1641309948781-93TVPPVP8BRZ52QEX8GJ/IMG_3834.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, coat hanger, 40 x 15 x 6 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1642175981168-VRKG7AL3J88DWNYY9LLA/%252357.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden's yard in Memphis, TN, circa 1987. Color 35mm slide. Photograph by William S. Arnett. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1642176003492-XXWBK5LUV26GU2BFV4E9/%252379.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden's yard in Memphis, TN, circa 1987. Color 35mm slide. Photograph by William S. Arnett. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1642176992981-6BAM0PZBR1TD8Q9DOSQP/%252358.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden's yard in Memphis, TN, circa 1987. Color 35mm slide. Photograph by William S. Arnett. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1642176023690-DPPPBIS8FRHRHJFWMP2F/%252362.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden's yard in Memphis, TN, circa 1987. Color 35mm slide. Photograph by William S. Arnett. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1642176044405-3LJ00ZKPZW9CN2H97WUA/%252382.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden's yard in Memphis, TN, circa 1987. Color 35mm slide. Photograph by William S. Arnett. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1642177502198-K3J8Y1QS588SOOVQ97JB/%252383.jpg Exhibitions: Hawkins Bolden - Hawkins Bolden's yard in Memphis, TN, circa 1987. Color 35mm slide. Photograph by William S. Arnett. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1642695261478-IMEOYW6KYV2MAJ5IETFP/IMG_3871.jpg Exhibitions: Hawkins Bolden - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1642695309256-BS4U682ONR1CCZVB0K2J/IMG_3874.jpg Exhibitions: Hawkins Bolden - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1642695324012-74L2L6KID5GH3CO1NA9V/IMG_3876.jpg Exhibitions: Hawkins Bolden - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1642695339800-NBFEPHE8QM3258C4LDIR/IMG_3889.jpg Exhibitions: Hawkins Bolden - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1642695354563-PY9ZYSACXFT868CANOFD/IMG_3894.jpg Exhibitions: Hawkins Bolden - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1642695369456-3CKRXU18RZLQRB5CEGKA/IMG_3901-Edit.jpg Exhibitions: Hawkins Bolden - Installation view, photo by Josh Porter https://www.institute193.org/exhibitions-oraien-catledge daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1662672957706-TY34YMJBD7II1MBZV4Q4/%2339A.jpg Exhibitions: Oraien Catledge https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1662673129408-Y1HDH8C0PJ7EZUTTLJLV/%2339A.jpg Exhibitions: Oraien Catledge - Oraien Catledge, Girl in Dress on Step, 1986, gelatin silver print, 7 x 10.5 inches inches. Oraien Catledge: Picture Man October 7 - December 22, 2022 Lexington, KY Institute 193 is pleased to announce Picture Man, the gallery’s first solo exhibition of works by Oraien Catledge, featuring a series of black and white photographs made and printed by the artist between 1980 and 1989. The exhibition takes its title from a nickname given to Catledge by the residents of Cabbagetown, a neighborhood in Atlanta, Georgia and the subject of his weekly Sunday trips wherein he would take portraits of the area’s residents. One of Atlanta’s oldest industrial neighborhoods, Cabbagetown was formed for the workers of the South’s first textile processing mill, who moved to the area seeking a better paycheck and life. By the time Catledge arrived in 1980, the Fulton Bag and Cotton Mill had closed and the economy weakened. As Catledge sought to archive candid interactions, he offered a grace and nobility to a community left reeling. Catledge described his connection to this place and its people in his written “Self-Portrait,” published alongside the first collection of his work in 1984: “The streets of Cabbagetown are narrow and the children play on some of them; traffic makes some streets too dangerous. There is a park, a small one, more a play lot for the children than a real park. There are no public schools within the boundaries of Cabbagetown, no clinics, no libraries, no picture shows. The most important institution outside the families was the “Factory,” the cotton mill where many of the community’s residents worked till its sudden closing more than a decade ago. The mill was Cabbagetown’s provider, a beautiful working place, a place of pride. Not long ago I was able to walk through it, as it exists now. I saw large rollers with tongues of torn cloth hanging from them. I saw rows of sewing machines emasculated from dangling power cords. I saw huge floor spaces filled only with flakes of fallen white paint—a permanent winter. I saw a single sweater, forgotten, arms hanging over a valve. I saw hats the workmen had worn, probably all bowled in the same direction the day they left the factory for the last time. I saw chimneys once fed by boilers three stories high, now choked by piles of black energy at their bases. The mill is still now. But some of the people remain. The people call me “Picture Man.” They know I care about them—they are not sure why. They are used to me. They know I can be trusted, that I won’t butt in, won’t report their secrets or their names even in the book of my pictures they have heard is to be published. They must know that I remain irresistibly drawn to photograph them, even now that I cannot manage to come to Cabbagetown every weekend as I used to. Cabbagetown is a magnet to me, the need to photograph there as fiercely compelling as ever.” – Oraien Catlege, 1984 Oraien Catledge (American, 1928 – 2015) was born and raised in Tutwiler, a small town in the Mississippi Delta that he described succinctly: “Cotton grew to the edge of the town in every direction. You knew the people around you, had sat on their front porch swings, could name the pictures on their parlor walls.” After receiving his Bachelor’s degree in 1954, he began work with the Mississippi Department of Public Welfare, substituting for short-term vacancies of other personnel across the state and later administering a small county welfare office. In 1969, Catledge and his family moved to Atlanta, Georgia where he became the southeastern regional consultant for the American Foundation for the Blind. In the late 1970s, he learned to use a camera and pursued his newfound passion intensely, despite his own visual impairments caused by an undiagnosed case of malaria he had contracted as a child. Up until his passing in 2015, Catledge took thousands of photographs, but his focus was primarily the residents of Cabbagetown, a place that undoubtedly transformed his way of seeing. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648308388367-U2GVS7PNRSCSDGFKL0ZL/%2326.jpg Exhibitions: Oraien Catledge - Oraien Catledge photo of Brenda Strickland, 1982, gelatin silver print, 8.25 x 12.75 inches. Oraien Catledge Picture Man April 15 - June 3 Oraien Catledge ( American, 1928 - 2015) *Intro Paragraph* ”The mill was Cabbagetown's provider, a beautiful working place, a place of pride. Not long ago I was able to walk through it, as It exists now. I saw large rollers with tongues of torn cloth hanging from them. I saw rows of sewing machines emasculated from dangling power cords. I saw huge floor spaces filled only with flakes of fallen white paint-a permanent winter. I saw a single sweater, forgotten, arms hanging over a valve. I saw hats the workmen had worn, probably all bowled in the same direction the day they left the factory for the last time. I saw chimneys once fed by boilers three stories high, now choked by piles of black energy at their bases. The mill is still now. But some of the people remain. The people call me "Picture Man." They know I care about them-they are not sure why. They are used to me. They know I can be trusted, that I won't butt in, won't report their secrets or their names even in the book of my pictures they have heard is to be published. They must know that I remain irresistibly drawn to photograph them, even now that I cannot manage to come to Cabbagetown every weekend as I used to. Cabbagetown is a magnet to me, the need to photograph there as fiercely compelling as ever.” -Oraien Catledge, 1984 Oraien Catledge was born and raised in Tutwiler, a small town in the Mississippi Delta. Catledge described his hometown, “Cotton grew to the edge of the town in every direction. You knew the people around you, had sat on their front porch swings, could name the pictures on their parlor walls.” After receiving his bachelor’s degree in 1954, he began work with the Mississippi Depertment of Public Welfare, substituting for short-term vacancies of other personnel across the state and later administering a small county welfare office. In 1969, Catledge and his family moved to Atlanta, Georgia where he became the southeastern regional consultant for the American Foundation for the Blind. In the late 1970s, he learned to use a camera and pursued his newfound passion intensely, despite his own visual impairments caused by an undiagnosed case of malaria he’d contracted as a child. Up until his passing in 2015, Catledge took thousands of photographs, but his focus was primarily the residents of Cabbagetown, a place that undoubtedly transformed his way of seeing. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1662673049122-8XH1QTZ7IC9LU0KH3XYU/%23%238a.jpg Exhibitions: Oraien Catledge - Oraien Catledge, Untitled, 1980 - 1989, gelatin silver print, 8.75 x 13 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1662673052518-E4WDCDDWZMKG1L098P7N/%238A.jpg Exhibitions: Oraien Catledge - Oraien Catledge, Untitled, 1980 - 1989, gelatin silver print, 8.25 x 12.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265435174-5NPH7XFO0A7XIWLYQ4U6/%2314.jpg Exhibitions: Oraien Catledge - Oraien Catledge, Untitled, 1980 - 1989, gelatin silver print, 12.75 x 8.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265434590-59VK4H3H4FVDV6LBOTE0/%2312A.jpg Exhibitions: Oraien Catledge - Oraien Catledge, Teenage Girl Turning Around Back, 1986., gelatin silver print, 13 x 8.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265433126-D8BXRR96VALL40BEH20X/%23.jpg Exhibitions: Oraien Catledge - Oraien Catledge, Untitled, 1981, gelatin silver print, 8.25 x 12.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265433004-N7IEQPIG61D3XL7R3V7H/%23%2340A.jpg Exhibitions: Oraien Catledge https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265435658-9716MMXA6303KD9BGYX2/%2343.jpg Exhibitions: Oraien Catledge - Oraien Catledge, Untitled, 1980 - 1989, gelatin silver print, 8.25 x 12.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265436196-OZT65X2VSU1X6PDN9ILF/%2344A.jpg Exhibitions: Oraien Catledge - Oraien Catledge, Untitled, 1980 - 1989, gelatin silver print, 11.75 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265436936-P7243EOSI97JDM4N7UDE/15A.jpg Exhibitions: Oraien Catledge - Oraien Catledge, Teenage Girl with Sparkly Shirt and Cigarettes in Pocket, 1986, gelatin silver print, 13.75 x 8.75 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265437382-4XMA6GGUJ07YI1JBPOSJ/16.jpg Exhibitions: Oraien Catledge - Oraien Catledge, Untitled, 1980 - 1989, gelatin silver print, 4.5 x 7 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265438046-C6T6TM5SMYEN2SL9Q9YO/36a.jpg Exhibitions: Oraien Catledge - Oraien Catledge, photo of Jewel Kines and Aliene Sparks, 1981, gelatin silver print, 11.5 x 7.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1676660223543-Z2HA8CMB5D989M4TLPXF/IMG_first.jpg Exhibitions: Oraien Catledge - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1676660236516-0L3R4HE4RD9VVBQ54HWZ/IMG_second.jpg Exhibitions: Oraien Catledge - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1676660248855-ML6MGL9SC3EAI9HCSCO5/IMG_third.jpg Exhibitions: Oraien Catledge - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1676660258512-9JDZGSE2H8K8HKP93572/IMG_fourth.jpg Exhibitions: Oraien Catledge - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1676660268110-8ER306MEH2WC6V9W5R1V/IMG_fifth.jpg Exhibitions: Oraien Catledge - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1676660279576-1L70O3O0SZPEHH2FRZCU/IMG_sixth.jpg Exhibitions: Oraien Catledge - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1676660290246-JD8EBESF86E0JLU8XIQE/IMG_seventh.jpg Exhibitions: Oraien Catledge - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1676660304066-59MUSXQ95RET24LX12OO/IMG_eighth.jpg Exhibitions: Oraien Catledge - Installation view, photo by Josh Porter https://www.institute193.org/exhibitions-jayne-county daily 0.75 2023-03-04 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648662060293-K61VU9ZN8OLZ5XW1ZKD2/IMG_4231.jpg Exhibitions: Jayne County Jayne County: Penis Planet April 6 - May 28, 2022 Lexington, KY In 2021 I first curated this exhibition of works by Jayne County at Pasaquan, the otherworldly home, and artist-environment created by Eddie Owens Martin, or St. EOM. The pair were a match made in the Milky Way, two artists dreaming of distant worlds, persistently building places they could identify with. Creating meaning out of a society that could never wholly have sense. St. EOM took inspiration from “the ancients, the Assyrians, the Mayans, the Olmecs, the Egyptians, the people of Atlantis and Mu.” Jayne looks to ancient times, her sights set on the History Channel and hieroglyphics of ancient Egypt. I think of these inspiring places, these moments in time, as giant projective masks that present our dreams of tomorrow. They are more often than not just ideas and ideals. They are like Rorschach tests, built on the fly with ambiguous materials to elicit interpretive responses from all onlookers. These artists, architects, world builders draw from life, from profound truths and reflections of the human condition, looking back at many yesterdays while dreaming of a more reassuring tomorrow. It’s a feeling so deep in the body that we often feel its only connection is somewhere out in the vastness of the cosmos, even if that celestial space is actually rural Georgia. Or maybe Egypt. Or perhaps even Kentucky. But before tomorrow, we are here, brought together by Jayne County. In her world, all are welcome. County’s penis paintings are like nothing else comparable in contemporary art, but their inspiration works towards the same goals. At first blush, her paintings represent the unsayable, the unconscious, but we can all see ourselves on these canvases. The candor in these paintings is overdue and refreshing. Phallic hieroglyphs, repetitive symbols of who we once were, marks telling what we will be. Gone are any prudish impulses, replaced by conversations about the body in the world—ideas about fertility, gender ideals, identity, faith, morality—beliefs bigger than any of us. Their reflection back at us is pure and blazing. County has found this universal point of reference to use humor and skill to welcome us to her world. This is a safe space, an interstellar meeting house where all subjects, where all people are worthy of representation. County’s stand-alone phalluses serve as carriers, transporters of meaning, representatives of a future phallocentric universe. The penises have invented a new language. They are dismembered members, equally free of sensuality or guilt. They are restless to the point of delirium. They glow with unearthly radiation; nebulae and star clusters guide their path. They are timeless. Seen together, her penises create a new pictographic language, a subversive radical nonverbal voice.

 — Daniel Fuller, curator https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648662060293-K61VU9ZN8OLZ5XW1ZKD2/IMG_4231.jpg Exhibitions: Jayne County Jayne County: Penis Planet April 6 - May 28, 2022 Lexington, KY In 2021 I first curated this exhibition of works by Jayne County at Pasaquan, the otherworldly home, and artist-environment created by Eddie Owens Martin, or St. EOM. The pair were a match made in the Milky Way, two artists dreaming of distant worlds, persistently building places they could identify with. Creating meaning out of a society that could never wholly have sense. St. EOM took inspiration from “the ancients, the Assyrians, the Mayans, the Olmecs, the Egyptians, the people of Atlantis and Mu.” Jayne looks to ancient times, her sights set on the History Channel and hieroglyphics of ancient Egypt. I think of these inspiring places, these moments in time, as giant projective masks that present our dreams of tomorrow. They are more often than not just ideas and ideals. They are like Rorschach tests, built on the fly with ambiguous materials to elicit interpretive responses from all onlookers. These artists, architects, world builders draw from life, from profound truths and reflections of the human condition, looking back at many yesterdays while dreaming of a more reassuring tomorrow. It’s a feeling so deep in the body that we often feel its only connection is somewhere out in the vastness of the cosmos, even if that celestial space is actually rural Georgia. Or maybe Egypt. Or perhaps even Kentucky. But before tomorrow, we are here, brought together by Jayne County. In her world, all are welcome. County’s penis paintings are like nothing else comparable in contemporary art, but their inspiration works towards the same goals. At first blush, her paintings represent the unsayable, the unconscious, but we can all see ourselves on these canvases. The candor in these paintings is overdue and refreshing. Phallic hieroglyphs, repetitive symbols of who we once were, marks telling what we will be. Gone are any prudish impulses, replaced by conversations about the body in the world—ideas about fertility, gender ideals, identity, faith, morality—beliefs bigger than any of us. Their reflection back at us is pure and blazing. County has found this universal point of reference to use humor and skill to welcome us to her world. This is a safe space, an interstellar meeting house where all subjects, where all people are worthy of representation. County’s stand-alone phalluses serve as carriers, transporters of meaning, representatives of a future phallocentric universe. The penises have invented a new language. They are dismembered members, equally free of sensuality or guilt. They are restless to the point of delirium. They glow with unearthly radiation; nebulae and star clusters guide their path. They are timeless. Seen together, her penises create a new pictographic language, a subversive radical nonverbal voice.

 — Daniel Fuller, curator https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648754829716-RFDRSUT9W84LKZ9D5MOO/isolated_0000_IMG_4231.jpg Exhibitions: Jayne County - Jayne County, Amerikan Penis, 2020, acrylic and ink on canvas, 12 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648754845065-TB5SZYDN69JYY8FT1TJ1/isolated_0004_IMG_4218.jpg Exhibitions: Jayne County - Jayne County, Golden Cock Hat, 2020, acrylic and ink on canvas, 12 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648754870091-GI6PT8S63P894PDU340I/isolated_0005_IMG_4214.jpg Exhibitions: Jayne County - Jayne County, Cock on Pink, 2020, acrylic and ink on canvas, 12 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648754891982-5ENLMW3JSOV5PU4X0EIM/isolated_0003_IMG_4221.jpg Exhibitions: Jayne County - Jayne County, Goldarias, 2020, acrylic and ink on canvas, 12 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648754904604-ATNVH0QY3Y9HY4X2ZPWG/isolated_0002_IMG_4223.jpg Exhibitions: Jayne County - Jayne County, Blue Peter, 2020, acrylic and ink on canvas, 12 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648754939667-W6Y73XGULYSIM23SOKHQ/isolated_0008_IMG_4209.jpg Exhibitions: Jayne County - Jayne County, Bat Cock, 2020, acrylic and ink on canvas, 12 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648754975772-8ZNHW6QRDHJL57CKD64M/isolated_0001_IMG_4227.jpg Exhibitions: Jayne County - Jayne County, Golden Pagan Cock, 3000 B.C., 2020, acrylic and ink on canvas, 12 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648755013785-2RID2RYNK3ERXQOWTC1E/isolated_0009_IMG_4205.jpg Exhibitions: Jayne County - Jayne County, Red Ring Cock Gold, 2020, acrylic and ink on canvas, 12 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648755023979-S04S100QVHXE9ZT74C8W/isolated_0010_IMG_4204.jpg Exhibitions: Jayne County - Jayne County, Twistin Cock, 2020, acrylic and ink on canvas, 12 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648754660591-P7AYM40Z0ST0UIH94WOF/isolated_IMG_4249.jpg Exhibitions: Jayne County - Jayne County, She 6 Cocks, 2019, acrylic and ink on canvas, 16 x 20 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648755318728-AX8Q9MYW2RXZMWNN4REE/isolated_IMG_4259.jpg Exhibitions: Jayne County - Jayne County, Baal Berith 66, 2020, acrylic and ink on canvas, 24 x 30 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648756973506-IH5WHW0BIHML4G3V0FIG/isolated_IMG_4237.jpg Exhibitions: Jayne County - Jayne County, Three Wise Penises, 2020, acrylic and ink on canvas, 16 x 20 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648754649894-N32YTWLOQBMZ7T4UVLL2/isolated_IMG_4243.jpg Exhibitions: Jayne County - Jayne County, Penis of Hades, 2019, acrylic and ink on canvas, 20 x 16 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648754682548-I2FBVP3HJUEEIVIO8265/isolated_IMG_4274.jpg Exhibitions: Jayne County - Jayne County, Fertility Penis #1, 2020, acrylic and ink on canvas, 36 x 36 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648754675822-UA62T8AU6M0XAPDUIUC5/isolated_IMG_4280.jpg Exhibitions: Jayne County - Jayne County, Gold Bastat Caliggar #47, 2020, acrylic and ink on canvas, 36 x 36 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648754643442-Z4GUPN0UNWLZYU99URPA/isolated_IMG_4238.jpg Exhibitions: Jayne County - Jayne County, White Penis Op Art 2006 1/3 = 66 No Vat, 2019, acrylic and ink on canvas, 18 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648754626104-V4OCB7FF77Z91XV0LT82/isolated_0011_IMG_4201.jpg Exhibitions: Jayne County - Jayne County, Cock Strong, 2021, acrylic and ink on canvas, 12 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1649431223183-EHQHNUX6A4IVJVIU1GR8/IMG_4346.jpg Exhibitions: Jayne County - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1649431238035-P9DR6YQTJZ51SVA1QQ5A/IMG_4352.jpg Exhibitions: Jayne County - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1649431266369-GJ9XSZRVIQPJY0LFRCEW/IMG_4355.jpg Exhibitions: Jayne County - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1649431253566-2RGSD1Q3A32B41DQM4EJ/IMG_4359.jpg Exhibitions: Jayne County - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1649431281096-OERAWJTJKENWWEH1NZJI/IMG_4363.jpg Exhibitions: Jayne County - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1649431294236-GPGL9DIBAVHH6L43J397/IMG_4375.jpg Exhibitions: Jayne County - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1649431310255-RGEC8HCB0SOZI8QCI5PB/IMG_4380.jpg Exhibitions: Jayne County - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1649431321807-MWDSHEGCVDJE5A4F2XXF/IMG_4377.jpg Exhibitions: Jayne County - Installation view, photo by Josh Porter https://www.institute193.org/off-site-aye-aton daily 0.75 2023-02-24 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677271995681-7Y8IMKU7TZTFH0GC50UA/ATON+EDIT+2.jpg Off Site: Ayé Aton - Ayé Aton : Duality / Emory University / October 20 – January 15, 2023 Ayé Aton: Duality, Emory University, October 20 – January 15, 2023 Ayé A. Aton's art is neither about the past nor the future, neither real nor unreal. In a world that can no longer imagine other universes, Aton offers a true utopia, a divine space. He connects us to an alternative perspective, the opportunity to dive into the cosmos. His abstractions bring the possibility of returning to the self. When the world opens up, when stretched to infinity, we embrace pleasure and power. Aton's amorphous shapes become roads, wings, clouds, and dreams. They conjure sensations in the body and mind. They serve as maps crucial to constructing our identities, sexualities, aesthetics, emotions and memories, and representations of self. They remind us that we are not all destined to the same fate. Now we are in flight. That when we hit the farthest reaches of dreams and desires, to bang on the walls of space and time until the lid pops off. This is not escapism; this is not a drill. The paintings on canvas, board, and paper can be categorized in three ways: the depiction of heads emerging from a transcendent world, imagining an alternate cosmos for Black existence, and a myriad of examples for positioning your inner self inside the spiritual world, often by reinterpreting Egyptian mythology. The celestial heads blossom from a garden of consciousness and growth. These otherworldly landscapes are lush and layered, their warm, bright palleted foliage taking root, melting, and melding, becoming a part of the beings. They speak of joy and freedom. They speak of growth. Aton's version of space has a different kind of buzz. The stars are small and speckled. Exploding comets shoot around bright planets and float comfortably like they've been there for lifetimes and lifetimes. In By Any Means Necessary, 2004, five portraits of Malcolm X at various points of his life fill the sky. All of the answers are up there, suspended in eternity. With Ra - The Embodiment Of the Sun, 2004 Aton depicts "arguably Egypt's most important deity" as it was Ra, and Ra alone, who was there at the birth of creation. As the god of the life-giving sun, Ra reigned over the created world: the sky, the earth, and the underworld. Here we see the young deity with arms outstretched, praying, bathing in the rays of a gold-leaf sun. Above all floats the 'eye of Ra' an amulet associated with fire and flames, holding the potential to restore harmony and turn violent with the power of the destructive side of the sun. Along with the more discreet paintings, this exhibition offers the unique occasion to view a recreation of Aton's mural work. In 1971 he moved to the terrestrial headquarters of the Sun Ra Arkestra, the "Arkestral Institute" in the Germantown neighborhood of Philadelphia. The modest three-story rowhouse was where the ensemble lived, rehearsed, and pushed the limits of avant-garde jazz for the rest of time. While a percussionist for the Arkestra from 1972-1976, Aton painted murals for an audience of one in the rooms of Marshall Allen, John Gilmore, and Sun Ra. Previously, he had painted his intergalactic murals inside various homes across Chicago's South Side Black Belt through the 1960s. Photos of these walls were often taken; titles, dates, and exact addresses were not documented. These works were lost to time. Ayé A. Aton (Born: Robert Underwood, January 1940, Versailles, Kentucky, died: October 2017, Lexington, Kentucky) was a muralist, painter, educator, and musician. His solo exhibitions include The Lexington Living Arts and Science Center, Lexington, KY, and Pam Miller Downtown Arts Center, Midway, KY, both in 2021, and The Studio Museum in Harlem, New York, NY, in 2013. In 2016 he was in the group exhibition The Freedom Principle: Experiments in Art and Music, 1965–Now, Chicago Museum of Contemporary Art, Chicago, IL, and University of Pennsylvania Institute of Contemporary Art, Philadelphia, PA. He performed extensively with many musicians over numerous decades and recorded on the 1980 album Infinite Spirit Music, Live Without Fear, Sun Ra And His Astro Intergalactic Infinity Arkestra, Discipline 27-II in 1972, and the seminal Sun Ra, Space is the Place, in 1973. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677271995681-7Y8IMKU7TZTFH0GC50UA/ATON+EDIT+2.jpg Off Site: Ayé Aton - Ayé Aton : Duality / Emory University / October 20 – January 15, 2023 Ayé Aton: Duality, Emory University, October 20 – January 15, 2023 Ayé A. Aton's art is neither about the past nor the future, neither real nor unreal. In a world that can no longer imagine other universes, Aton offers a true utopia, a divine space. He connects us to an alternative perspective, the opportunity to dive into the cosmos. His abstractions bring the possibility of returning to the self. When the world opens up, when stretched to infinity, we embrace pleasure and power. Aton's amorphous shapes become roads, wings, clouds, and dreams. They conjure sensations in the body and mind. They serve as maps crucial to constructing our identities, sexualities, aesthetics, emotions and memories, and representations of self. They remind us that we are not all destined to the same fate. Now we are in flight. That when we hit the farthest reaches of dreams and desires, to bang on the walls of space and time until the lid pops off. This is not escapism; this is not a drill. The paintings on canvas, board, and paper can be categorized in three ways: the depiction of heads emerging from a transcendent world, imagining an alternate cosmos for Black existence, and a myriad of examples for positioning your inner self inside the spiritual world, often by reinterpreting Egyptian mythology. The celestial heads blossom from a garden of consciousness and growth. These otherworldly landscapes are lush and layered, their warm, bright palleted foliage taking root, melting, and melding, becoming a part of the beings. They speak of joy and freedom. They speak of growth. Aton's version of space has a different kind of buzz. The stars are small and speckled. Exploding comets shoot around bright planets and float comfortably like they've been there for lifetimes and lifetimes. In By Any Means Necessary, 2004, five portraits of Malcolm X at various points of his life fill the sky. All of the answers are up there, suspended in eternity. With Ra - The Embodiment Of the Sun, 2004 Aton depicts "arguably Egypt's most important deity" as it was Ra, and Ra alone, who was there at the birth of creation. As the god of the life-giving sun, Ra reigned over the created world: the sky, the earth, and the underworld. Here we see the young deity with arms outstretched, praying, bathing in the rays of a gold-leaf sun. Above all floats the 'eye of Ra' an amulet associated with fire and flames, holding the potential to restore harmony and turn violent with the power of the destructive side of the sun. Along with the more discreet paintings, this exhibition offers the unique occasion to view a recreation of Aton's mural work. In 1971 he moved to the terrestrial headquarters of the Sun Ra Arkestra, the "Arkestral Institute" in the Germantown neighborhood of Philadelphia. The modest three-story rowhouse was where the ensemble lived, rehearsed, and pushed the limits of avant-garde jazz for the rest of time. While a percussionist for the Arkestra from 1972-1976, Aton painted murals for an audience of one in the rooms of Marshall Allen, John Gilmore, and Sun Ra. Previously, he had painted his intergalactic murals inside various homes across Chicago's South Side Black Belt through the 1960s. Photos of these walls were often taken; titles, dates, and exact addresses were not documented. These works were lost to time. Ayé A. Aton (Born: Robert Underwood, January 1940, Versailles, Kentucky, died: October 2017, Lexington, Kentucky) was a muralist, painter, educator, and musician. His solo exhibitions include The Lexington Living Arts and Science Center, Lexington, KY, and Pam Miller Downtown Arts Center, Midway, KY, both in 2021, and The Studio Museum in Harlem, New York, NY, in 2013. In 2016 he was in the group exhibition The Freedom Principle: Experiments in Art and Music, 1965–Now, Chicago Museum of Contemporary Art, Chicago, IL, and University of Pennsylvania Institute of Contemporary Art, Philadelphia, PA. He performed extensively with many musicians over numerous decades and recorded on the 1980 album Infinite Spirit Music, Live Without Fear, Sun Ra And His Astro Intergalactic Infinity Arkestra, Discipline 27-II in 1972, and the seminal Sun Ra, Space is the Place, in 1973. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1667070316199-UQPRJCVDHEUZNR1E994W/2S.jpg Off Site: Ayé Aton https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1667070315499-7IOSWVEMLOESHCOH7MKD/1S.jpg Off Site: Ayé Aton https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1667070316792-Q6LRHRY0NNFRHL03Q9UU/3S.jpg Off Site: Ayé Aton https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1667070317244-DOMQXBRHG9N026125RDC/4S.jpg Off Site: Ayé Aton https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1667070318200-AGD1RVWPQI1SBRB41CVK/5S.jpg Off Site: Ayé Aton https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1667070318954-QA8D4C5P1D0NJM5FLFCI/6S.jpg Off Site: Ayé Aton https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1667070320042-V9IGWZ47SHT5HGIPDEXX/7S.jpg Off Site: Ayé Aton https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1667070320344-00XKW9U4JZS0H3E0ZA14/8S.jpg Off Site: Ayé Aton https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1667070321385-92GUBFYX0IY9U8QQUUTG/9S.jpg Off Site: Ayé Aton https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1667070322726-JAGWA94VD6BE76HXG2AG/10S.jpg Off Site: Ayé Aton https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1667070322832-6LUTLLUPN11X6IDIGJMF/11S.jpg Off Site: Ayé Aton https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1667070324953-E8H635F6S82M450SR1EZ/12S.jpg Off Site: Ayé Aton https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1667070324793-AB0F8KMI6AQIZZFR0RUN/13S.jpg Off Site: Ayé Aton https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677263378626-5Y8ADFSRNJ9TIT4BBS97/ATON+EDIT+4.jpg Off Site: Ayé Aton - Installation view, photo by Dana Haugaard https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677263384050-X8HDLXP3WINOTCIWNI97/ATON+EDIT+6.jpg Off Site: Ayé Aton - Installation view, photo by Dana Haugaard https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677263391128-IR5C2J3LLUZT5QNOFRQF/ATON+EDIT+8.jpg Off Site: Ayé Aton - Installation view, photo by Dana Haugaard https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677263372926-4CXUUF77VDIIUN1I42KC/ATON+EDIT+1.jpg Off Site: Ayé Aton - Installation view, photo by Dana Haugaard https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677263372775-ER675O0VV0I46F85ZF6E/ATON+EDIT+2.jpg Off Site: Ayé Aton - Installation view, photo by Dana Haugaard https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677263378976-FR0O7E96OE01Q8N3AIDQ/ATON+EDIT+3.jpg Off Site: Ayé Aton - Installation view, photo by Dana Haugaard https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677263383801-46B8PBCT2B3JXIACI4NS/ATON+EDIT+5.jpg Off Site: Ayé Aton - Installation view, photo by Dana Haugaard https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677263386774-HUM6Q61SYRJN4HRW198Y/ATON+EDIT+7.jpg Off Site: Ayé Aton - Installation view, photo by Dana Haugaard https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677263391368-FX5UYLQOAPSOTP45ZMXB/ATON+EDIT+9.jpg Off Site: Ayé Aton - Installation view, photo by Dana Haugaard https://www.institute193.org/exhibitions-captain-william-e-jordan daily 0.75 2024-01-03 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732857001-RN01HUOHT1MCQAYXLQHS/resized+Jordan_HiRes_Composite.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan, Untitled, n.d., colored pencil and graphite on paper, 17.5 x 34 inches. Captain William E. Jordan: He Paints in the Dark January 20 - March 18, 2023 “BLIND MAN DOES BRILLIANT PASTELS.” “HE PAINTS PICTURES HE CANNOT SEE.” “BLIND ARTIST EXHIBITS WORKS AT MUSEUM.” “HE PAINTS IN THE DARK.” So exclaimed the headlines of the Savannah Morning News, The Charleston Constitution, and other publications, filled with awe and disbelief, by the rich, arresting artwork of one Captain William Jordan. The late-1950s equivalent of clickbait, these headlines evoked obvious questions: how could a blind person create images to be seen when he himself would never see them, how did he orient himself on the page, or know which color was which? After seeing Jordan’s artwork, either in print or in person, some viewers dismissed him as a fraud. Many found it hard to believe that a blind person could create the elaborate landscapes and kaleidoscopic graphics of Jordan’s colorful works, but as someone a very long time ago once said: “we walk by faith, not by sight.” If Jordan’s artistic abilities seemed unlikely, the rest of his life story is almost equally far-fetched. Born in Chattanooga and raised in Savannah, he ran away to the circus at the age of nine, eventually landing in Philadelphia. He would go on to study medicine, serve in World War I in France, and explore much of the United States. After losing his sight at the age of 62, Jordan began making art for the first time. The scenes began in his imagination, memories hidden in his subconscious that he articulated onto paper. From this internal vision, he made outlines with heavy pencil, feeling the grooves of his marks with one hand while coloring sections with the other. His wife, Helen, arranged his pastels and pencils in a coded order, allowing the artist to match the colors he envisioned. Jordan drew from memory, depicting lush Savannah swamps, rippling western canyons, Pennsylvania farmland, and deep, dense forests. He also made drawings of abstract experiences, depicting the sensation of having glaucoma and visions from his mind’s eye. This practice became a way to “rescue from oblivion” the beauty of things he had once seen. Jordan’s scenes are suffused with ornate foliage, precisely arranged trees and structures, long sunsets traveling along the horizon. His marks are confident and precise, yielding flat yet expansive compositions that experiment with dramatic symmetry: a perfectly balanced stone in an Arizona canyon, a boiling volcano, an endless, sweeping valley. Hypnotic, geometric designs allude to circus tents and mysterious dreams. Other memories abandon uniformity for sensitive specificity. In one drawing, a tree overtaken by wildfire stands beside a river, hungry flames reflected in the rushing current. In another, flowing hills reveal a constellation of tree stumps, the ruin of what once was a dense forest. There is often a sense of before and after, here and there, tension. Jordan’s work measures the impact of fleeting moments, a testament to the force of experiences that linger in one’s mind long after they’ve passed. –Maria Owen https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732857001-RN01HUOHT1MCQAYXLQHS/resized+Jordan_HiRes_Composite.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan, Untitled, n.d., colored pencil and graphite on paper, 17.5 x 34 inches. Captain William E. Jordan: He Paints in the Dark January 20 - March 18, 2023 “BLIND MAN DOES BRILLIANT PASTELS.” “HE PAINTS PICTURES HE CANNOT SEE.” “BLIND ARTIST EXHIBITS WORKS AT MUSEUM.” “HE PAINTS IN THE DARK.” So exclaimed the headlines of the Savannah Morning News, The Charleston Constitution, and other publications, filled with awe and disbelief, by the rich, arresting artwork of one Captain William Jordan. The late-1950s equivalent of clickbait, these headlines evoked obvious questions: how could a blind person create images to be seen when he himself would never see them, how did he orient himself on the page, or know which color was which? After seeing Jordan’s artwork, either in print or in person, some viewers dismissed him as a fraud. Many found it hard to believe that a blind person could create the elaborate landscapes and kaleidoscopic graphics of Jordan’s colorful works, but as someone a very long time ago once said: “we walk by faith, not by sight.” If Jordan’s artistic abilities seemed unlikely, the rest of his life story is almost equally far-fetched. Born in Chattanooga and raised in Savannah, he ran away to the circus at the age of nine, eventually landing in Philadelphia. He would go on to study medicine, serve in World War I in France, and explore much of the United States. After losing his sight at the age of 62, Jordan began making art for the first time. The scenes began in his imagination, memories hidden in his subconscious that he articulated onto paper. From this internal vision, he made outlines with heavy pencil, feeling the grooves of his marks with one hand while coloring sections with the other. His wife, Helen, arranged his pastels and pencils in a coded order, allowing the artist to match the colors he envisioned. Jordan drew from memory, depicting lush Savannah swamps, rippling western canyons, Pennsylvania farmland, and deep, dense forests. He also made drawings of abstract experiences, depicting the sensation of having glaucoma and visions from his mind’s eye. This practice became a way to “rescue from oblivion” the beauty of things he had once seen. Jordan’s scenes are suffused with ornate foliage, precisely arranged trees and structures, long sunsets traveling along the horizon. His marks are confident and precise, yielding flat yet expansive compositions that experiment with dramatic symmetry: a perfectly balanced stone in an Arizona canyon, a boiling volcano, an endless, sweeping valley. Hypnotic, geometric designs allude to circus tents and mysterious dreams. Other memories abandon uniformity for sensitive specificity. In one drawing, a tree overtaken by wildfire stands beside a river, hungry flames reflected in the rushing current. In another, flowing hills reveal a constellation of tree stumps, the ruin of what once was a dense forest. There is often a sense of before and after, here and there, tension. Jordan’s work measures the impact of fleeting moments, a testament to the force of experiences that linger in one’s mind long after they’ve passed. –Maria Owen https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732861757-NNXSRJO593IH268ZP152/resized+WE_Jordan_01.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan, Untitled, 1962, colored pencil and graphite on paper, 11 x 13 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732875780-GDL5BV9UC5SVDVBEK94X/resized+WE_Jordan_05.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan, Untitled, n.d., 13.5 x 11 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732875975-6DOUCSGIV401NFZ389ZN/resized+WE_Jordan_15.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan, Untitled, n.d., colored pencil and graphite on paper, 11.5 x 17 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732888355-TJSBK5W21HNK883XWWD6/resized+WE_Jordan_16.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan, Crystal Lake, n.d., colored pencil and graphite on paper, 12 x 17.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732899527-P4T8ML9U2Y2H1ES4O58A/resized+WE_Jordan_17.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan, Vanishing Timber, 1959, colored pencil and graphite on paper, 17.5 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732899546-T4W6AKVI7IGUPONT1RFL/resized+WE_Jordan_19.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan, Upstate Drive, 1961, colored pencil and graphite on paper, 12 x 17.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732922945-IBLEWI7MO11JTOYNN18O/resized+WE_Jordan_20.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan, Untitled, n.d., colored pencil and graphite on paper, 17.5 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732917443-B0C2VSZBTRIHJH2YI6A8/resized+WE_Jordan_22.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan, Indian Lookout, n.d., colored pencil and graphite on paper, 17.5 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732929042-ZMFLFBXE3NQI3LQE4Y56/resized+WE_Jordan_24.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan, Spring Fantasy, 1961, colored pencil and graphite on paper, 12 x 17.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732933084-F5FKVSBFOUNJS3NMMV5S/resized+WE_Jordan_27.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan, Upheaval, n.d., colored pencil and graphite on paper. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732951489-ENK8AGI2J0ZEFECJZZZM/resized+WE_Jordan_28.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan Untitled, n.d. colored pencil and graphite on paper, 17 1/2 x 12 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732952353-MZ7PT6GOQMW1GHBJ980C/resized+WE_Jordan_29.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan, Volcanic Magic , 1961, colored pencil and graphite on paper. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1673732958797-T77MH3LQ4R7CCBOOTOU9/resized+WE_Jordan_30.jpg Exhibitions: Captain William E. Jordan - Captain William E. Jordan, Untitled, n.d., colored pencil and graphite on paper, 12 x 17.5 inches. Biography Born William Edward Jordan in Chattanooga, Tennessee in the mid-1890s, he was left on the steps of a church. At age nine, after the death of his adopted parents, Jordan ran away to join the circus. It was there he met a young performer who delivered him to her own family in Philadelphia, where he would finish high school and begin his studies Jefferson Medical College. As World War I commenced, Jordan was posted to the Argonne Forest in France and his education put on hold. After long months on the battlefield and in the hospital, he returned to the United States with glaucoma, a variety of silver plates and screws, and a newfound distaste for the medical profession. Thus began Jordan’s time as “a primeval hitchhiker,” a chapter of his life where he traveled the nation, living minimally and in nature, and made a living by reporting road conditions for a national highway magazine. This adventure eventually led him to Florida, where while working in a hotel, he met Helen, a young guest who would soon (somewhat spontaneously) become his wife. While on vacation in October 1957 at the age of 62, Jordan’s sight as he knew it left him. Devastated and discouraged from adjusting to this new way of being, he returned to his native Savannah to wait for the end. Most of the articles praising Captain William Jordan refer to his young and beautiful wife as a source of encouragement and studio helper. In reality, Helen Jordan (b. Helen Josephine Ernalovich) possessed not only a positive attitude, but extraordinary strength. After surviving a devastating childhood accident that took her brother’s life, Helen spent twelve years in casts, braces, and a wheelchair. Never expected to recover, she persevered, eventually running away from home (like her future husband) and finding her way to the Florida hotel of Jordan’s employ. When, as Jordan put it, his “lights went out,” it was Helen who persistently encouraged him to make drawings. Though he was at first infuriated by the seemingly pointless exercise, Jordan eventually put pencil to paper. Encouraged by Helen and friends, simple sketches soon became elaborate artworks. Helen began selling the drawings door-to-door, and Jordan’s work quickly garnered the attention of a variety of clients and ultimately, museums. Though extremely precise with his compositions and palettes, errors occasionally occurred, once resulting in a landscape with a green sky. Despite its unrealistic appearance, Jordan sold it to a woman who “would have no other.” Another client was a blind French composer visiting Savannah for a concert. Though neither the composer nor Jordan could see the drawing in question, they connected on the sensation of the marks and their shared creativity. In 1959, the Georgia Museum of Art in Athens opened Jordan’s premiere exhibition, which would later travel to the Telfair Academy of Arts and Sciences. His drawings hung alongside a loan from the Metropolitan Museum of Art, including paintings by Velasquez, Renoir, and Reynolds. Jordan eventually opened a studio at 107 West Liberty Street in Savannah, where he shared his methods with others seeking self-expression. Described by those who met him as “smiling” and “full of spirit,” Jordan sought to improve the prospects of others through teaching and donations to civic organizations throughout his life. Because of his service and efforts on behalf of disabled veterans, he was appointed a member of the Military Order of the Purple Heart and a national intelligence officer of the 1932 Bonus Expeditionary Forces. It was not only his artistic success that defied expectation; Jordan’s journey from the steps of a Savannah church to the circus, medical school, the forests and battlefields of France, the wilds of America, and finally, his Savannah studio is undeniably extraordinary. And then, there are the drawings. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677182750478-7JF2PAB3ZJ1H5PXXSFBU/jordan1.jpg Exhibitions: Captain William E. Jordan - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677182749718-S9Y70722PI4EPZB5O323/jordan2.jpg Exhibitions: Captain William E. Jordan - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677182768413-Q46MJAV1BPQPKU35SGVH/jordan3.jpg Exhibitions: Captain William E. Jordan - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677182768451-YRPMK2YC0KLD8ZY116H2/jordan4.jpg Exhibitions: Captain William E. Jordan - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677182784586-ON5FGMSID9N8F9MVO0BQ/jordan5.jpg Exhibitions: Captain William E. Jordan - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677182784883-4BKCQDETUICXDFLKHFAA/jordan6.jpg Exhibitions: Captain William E. Jordan - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677182807124-Z8P3LQP6PRFCSBXTOUK1/jordan7.jpg Exhibitions: Captain William E. Jordan - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1677182808165-UUKXNWYECK13NJ1OUHTW/jordan8.jpg Exhibitions: Captain William E. Jordan - Installation view, photo by Josh Porter https://www.institute193.org/exhibitions-photos-by-weems daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679081864163-FEMUHHRNG83VSW9O8NX2/for+website.jpg Exhibitions: Photos by Weems https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679081864163-FEMUHHRNG83VSW9O8NX2/for+website.jpg Exhibitions: Photos by Weems https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679168096384-RQYLTPUS2UV6M4HQH121/weems+horizontal.jpg Exhibitions: Photos by Weems - Ellie Lee Weems, Untitled, 1930-40s. Photos by Weems Curated by Maxine Payne March 30 – May 20, 2023 “Do all the good you can. In all the ways you can, in all the places you can, for all the people you can, while you can.” -Clara White It’s 1929 in Jacksonville, Florida and at the corner of West Duval and Broad Street sits a small photography studio. Inside the door, one finds simple backdrops, a roll of neutral tone paper, and drapes forming vertical lines that––against a linoleum floor––define the space for someone to stand. These velvety conduits offer the perfect tonal range desired by black and white film photographers; the carefully chosen (but mass produced) studio backdrop of a fictitious, bucolic landscape transports the subject and viewer into a state of timelessness. Props are at the ready: a small chair for a child, a variety of pedestals to seat a husband or sibling, a versatile piano bench that is just the right size for a young woman to show off the fullness of her elegant skirts. A handmade sign reading Photos By Weems identifies this place as the studio of Ellie Lee Weems, a chronicler and archivist of African American life and culture in a bygone era. Photos By Weems presents thirty-four portraits, edited from thousands more, made by Black Jacksonville’s preeminent studio photographer. Separated by time, space, social, and political climate, we do not know the people in these images, but they feel familiar. Young girls wear cotton dresses with Peter Pan collars, puffy sleeves, and full skirts. Older women wear gloves, corsages, earrings, necklaces, hats, broaches, stockings, and sensible but elegant high-heeled shoes, often with broguing. Some of the women are in practical day clothes, others are in appropriate church going dresses or formal wear. The men sport double-breasted blazers; some of the young men wear the precursor to what would become known as a “Zoot suit.” Others don wide neckties, two-tone Oxford shoes, boutonnières, or fedoras. Pens, silk squares, and pocket handkerchiefs are tucked into breast pockets. Men are directed to look straight at the lens, women and girls sometimes off to the side. It is obvious that Mr. Weems’ subjects trusted him; they respected his expertise, as evidenced by the photographs he made. Our relationship with photography is vastly different in the digital and social media era than those who lived in an analog world. We must therefore consider Weems’ work in the context of time and place to better understand the people represented. When, where, and by whom images are made are vital to our understanding: what does the studio portrait tell us about the subject, and what does our interpretation of the studio portrait reveal about ourselves? In looking at these photographs, it’s clear that Weems wanted to represent his subjects in the best way possible. Through the compositions, lighting, and direction of a masterful photographer, beautiful and successful people were recorded in images that they could be proud of. Here are angels, queens, scouts, and soldiers. –Maxine Payne https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679169042506-4018ATY96LEF7VSZ2WK1/weems+cropped+3.jpg Exhibitions: Photos by Weems - Ellie Lee Weems, Untitled, 1930-40s. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679169137722-V04250Y3CHREQNVGT5LJ/weems+cropped+4.jpg Exhibitions: Photos by Weems - Ellie Lee Weems, Untitled, 1930-40s. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679169244681-KE2DNKUN2HOWTF7XM409/weems+cropped+5.jpg Exhibitions: Photos by Weems - Ellie Lee Weems, Untitled, 1930-40s. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679168378418-UG7QHF64F8Y7UUF079XC/weems+cropped+6.jpg Exhibitions: Photos by Weems - Ellie Lee Weems, Untitled, 1930-40s. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679169350524-NCPB54YVM1N8AJFHD72E/weems+cropped+8.jpg Exhibitions: Photos by Weems - Ellie Lee Weems, Untitled, 1930-40s. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679168400148-MUPTBPLZZJAU93KF8C5E/weems+cropped+7.jpg Exhibitions: Photos by Weems - Ellie Lee Weems, Untitled, 1930-40s. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679169481087-2S5AW024HG66YIP5JK0D/weems+cropped+1.jpg Exhibitions: Photos by Weems - Ellie Lee Weems, Untitled, 1930-40s. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679168403357-JJC1YH4JJ2VJ80VFU3SQ/weems+cropped+9.jpg Exhibitions: Photos by Weems - Ellie Lee Weems, Untitled, 1930-40s. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679169595917-MB44URWJ8JOFVWM8C7MO/weems+cropped+10.jpg Exhibitions: Photos by Weems - Ellie Lee Weems, Untitled, 1930-40s. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679168404580-M2OWS7IOZ9RX53SV4HBW/weems+cropped+11.jpg Exhibitions: Photos by Weems - Ellie Lee Weems, Untitled, 1930-40s. Words by Saundra Murray Nettles Like many photographers of his time, my great-uncle Ellie Lee Weems conducted business on the first floor of his Jacksonville home base on Beaver Street.* Trusting my siblings and me to observe the “look, don’t touch” rules, Uncle Ellie allowed us to spend time on the front porch or in his studio where we would peek into the darkroom when the door was open, use the mirror in the powder room where customers could make last minute fixes to their hair, or walk around the big room examining cameras and lights on stands. On the second floor, he and his wife Mae, a public health nurse, had established a comfortable and elegant apartment decorated with fine and vernacular furniture. When clients entered the house to sit for a photo, we children would go upstairs to the private space. Uncle Ellie’s sister, my grandmother Beulah Weems Rice, lived in Atlanta. Beulah was the keeper of the family’s visual archives. Although there were images made by other relatives, she cherished the ones her brother produced and proudly pointed them out to visitors. On the walls of her den, she had hung hand-tinted photographs of Ellie and Beulah’s parents as well as images of paternal ancestors, enslaved as children on the Weems plantation in Henry County Georgia. In albums, there were studio shots of each of the five children she had with my grandfather Rice, in addition to images of their 14 grandchildren. On their way to engage in advanced studies (Mae at the Medical College of Virginia St. Philip School of Nursing and Ellie at the Winona School of Photography in Indiana), the couple would spend time in Beulah’s den chatting about the photos while Ellie smoked his favorite cigar and grandchildren stopped by for hugs and kisses. Looking back, I can see the familial roots of a visual practice that captured the often brief, but passionate exchange between photographer and sitter. Clients spoke about how they especially valued Weems’s portraits of individuals and families for their intimacy and dignity. Mutual respect and affability shone through the images that bore his signature, “Photos by Weems.” –Saundra Murray Nettles Ellie Lee Weems Ellie Lee Weems (1901-1983) was born in McDonough, GA and attended Tuskegee Institute. There he studied under C. M. Battey, founder of the school’s Photography Department. After Tuskegee, Weems moved to Atlanta where he practiced photography; in 1925 he met and wed Willie Mae Morris in Chattanooga. By 1928 he had worked as the proprietor of the Paul Poole Photography Studio in Atlanta. In 1929, Weems moved to Jacksonville where he was a successful photographer for half a century in 3 different studios. In addition, Weems was renowned in Florida for his images of community life and the physical fabric of cities and towns. He closed his last studio on Beaver Street in the early 1980’s when his nephew took the Weems to Georgia. Maxine Payne Maxine Payne is a photographer living and working in Arkansas, where her grandparents raised her. She received her M.F.A from the University of Iowa where she was also an Iowa Arts Fellow. Maxine was selected a Fellow of the American Photography Institute at New York University, as well as a Fellow of the College Art Association. Currently a Professor in the Art Department at Hendrix College, she works to find ways to engage community in her work and speaks to the idea of place. Maxine was awarded the 2013 National Museum of Women in the Arts, Arkansas Fellowship for her photographic work. Her collaborations with Phillip March Jones, Institute 193, led to the 2015 Dust-to-Digital publication of “Making Pictures: Three for a Dime.” Currently, Maxine shares the Margaret Berry Hutton Odyssey Professorship with author Tyrone Jaeger. Their collaborative project with Hendrix College students and alum, called Audio Visual Arkansas, focuses on collecting digital stories about Arkansans and can be seen at AVARK.net. Maxine collaborated with anthropologist Anne Goldberg documenting the lives of rural women in Costa Rica, the U.S./Mexico border, Africa, and Vietnam. In 2017, Maxine worked with biologist Matthew Moran to document the environment and people of the “Big Woods” region of Arkansas. She has photographed hundreds of Arkansas historic bridges for the Arkansas Highway and Transportation Department since 2004. Maxine has continued her curatorial work with Phillip March Jones on two historic photographic archives, the Massengill family photographs and the photographs of Ellie Lee Weems, both of which are included in The High Museum of Art’s 2023 exhibition and publication Photography and the American South since 1850. Her work can be seen at www.MaxinePayne.com. Saundra R. Murray Nettles Saundra R. Murray Nettles is a writer and scholar of environmental and educational psychology. She is the author of Crazy Visitation, a memoir of life with and without a brain tumor, and Necessary Spaces: Exploring the Richness of African American Childhood. She has published academic articles and book chapters on the experiences of marginalized children, youth, and women in formal and informal learning environments. A Fellow of the American Psychological Association (APA), she is a former president of the APA Society for Environmental, Population, and Conservation Psychology and co-founder and past president of Section 1 (Psychology of Black Women) of the APA Society for the Psychology of Women. Murray Nettles is a 2020 recipient of the Elizabeth Hurlock Beckman award for “excellence in education and inspirational leadership” and a Women’s Studies Fellow of the Institute for Citizens & Scholars. She is an alumna of Howard University and the University of Illinois School of Information Sciences. Dr. Murray Nettles conducted educational research at the American Institutes for Research and the Johns Hopkins University Center for Social Organization of Schools and taught at several institutions, including the University of Maryland and the University of Illinois at Urbana-Champaign. As a retired professor and published poet, she is pursuing her longstanding interests in history of architecture and vernacular photography. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1682094173568-TGCTTNTI14SI0D0QBBCU/IMG_5781.jpg Exhibitions: Photos by Weems - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1682094157708-AW73OQTANIO5QJF5MDBB/IMG_5780.jpg Exhibitions: Photos by Weems - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1682094174708-M9VU6BOAWAKS0TJP2J67/IMG_5789.jpg Exhibitions: Photos by Weems - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1682094187797-0CPNYCW4K8FCVOCXYINN/IMG_5795.jpg Exhibitions: Photos by Weems - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1682094198601-3FCLPBUE4P4Z4S8PU5G3/IMG_5810.jpg Exhibitions: Photos by Weems - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1682094202080-UKJV3KW6VD2J3S9D24YD/IMG_5821.jpg Exhibitions: Photos by Weems - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1682094190407-73WYN0ERHIQB9CC408NW/IMG_5801.jpg Exhibitions: Photos by Weems - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1682094161260-9HSOC6NW6DUNREH8HMF9/IMG_5770.jpg Exhibitions: Photos by Weems - Installation view, photo by Josh Porter https://www.institute193.org/exhibitions-a-sudden-blow daily 0.75 2024-01-12 https://static1.squarespace.com/static/5c3cc8a11aef1d1735f564f7/t/65a1b72bd8b81557bf035e06/1679085536755/ Exhibitions: A Sudden Blow https://static1.squarespace.com/static/5c3cc8a11aef1d1735f564f7/6414cfbce7c62c1976266fc1/6414cfd9e81c560d0178af1d/1679085536755/ Exhibitions: A Sudden Blow https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679085569500-WBO19N3P2H56EAY5J8J8/Still+2.png Exhibitions: A Sudden Blow - Still from Solitude, Sarah Moyer, 2023. Institute 193 Presents Sarah Moyer: A Sudden Blow March 30–May 6, 2023 Open Saturdays 2-6PM or by appointment After moving our headquarters down the street, we are pleased to announce the repurposing of our original space at 193 North Limestone Street as Institute 193 Presents, a project space dedicated to pop-ups, screenings, and events to supplement our regular programming. The inaugural presentation, A Sudden Blow, comprises two films by Lexington-based artist and filmmaker, Sarah Moyer. 1. Solitude, 2023, 19 min, color, sound, video. Solitude dwells on the minor, but constant and cumulative, horrors that can infect domestic life. A woman moves through her garden, kitchen, and shower all the while being haunted; perhaps by her desire, and, almost certainly, by parallel versions of herself. She moves deliberately and absurdly, wandering unfazed through the futile rituals of daily existence. Rather than showing the home as a place of sterile security, it is shown as it truly is despite our best efforts––as gross, fecund, and cruel as the garden that surrounds it. The accompanying soundscape combines the repetitive din of both spaces, further dissolving the barrier between them and exposing their false distinction. 2. Mattress (Where the Fragments Met), 2023, 20 min, color, sound, video. By appropriating the slow pans and tight focus endemic to both nature documentaries and a certain era of horror film, Mattress merges the two. Both sound and image suggest a material, jarring dissonance. A fork scrapes against a ceramic plate. Teeth come together the wrong way. Sticky flesh is coated in feathers. Expecting firm resistance, a forefinger slides through the rotten skin of a too-old vegetable. Death in daylight. The environment resists our unnatural ordering of it, its closeness and disregard for our comfort become apparent. –Paul Michael Brown https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679085555171-QJ7PB00FI1GQS5FJH5R6/Screen+Shot+2023-02-20+at+12.44.35+PM.png Exhibitions: A Sudden Blow - Still from Mattress, Sarah Moyer, 2023. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679085565235-Q6986AE0YZPNX2JOIAE8/Solitude+2022.00_15_38_17.Still014.jpg Exhibitions: A Sudden Blow - Still from Solitude, Sarah Moyer, 2023. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679085555967-ZBRZTQTSQS1DBP7JCPMV/Screen+Shot+2023-02-20+at+12.45.27+PM.png Exhibitions: A Sudden Blow - Still from Mattress, Sarah Moyer, 2023. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679085567795-TCMZW4YRN78VELP3OBU3/Screen+Shot+2023-02-20+at+12.50.29+PM.png Exhibitions: A Sudden Blow - Still from Solitude, Sarah Moyer, 2023. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679085566859-8H6S3Y417YD7AMVQ13VA/Solitude+2022.00_16_56_03.Still002.jpg Exhibitions: A Sudden Blow - Still from Solitude, Sarah Moyer, 2023. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679085563277-YVFY49NEN84M983X78WZ/Screen+Shot+2023-02-20+at+12.47.19+PM.png Exhibitions: A Sudden Blow - Still from Mattress, Sarah Moyer, 2023. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1679085562919-8PF9IITQXK21N6RKFM4Y/Screen+Shot+2023-02-20+at+12.46.28+PM.png Exhibitions: A Sudden Blow - Still from Mattress, Sarah Moyer, 2023. Sarah Moyer is an artist and filmmaker based in Lexington, Kentucky. Her films explore how duration transforms interpretation. Her recent work depicts quotidian dramas imbued with a realism that is subtly magical. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1685631002509-DK99G1Z3X2ZRAYWOJCSN/SuddenBlow-2.jpg Exhibitions: A Sudden Blow - Installation view, photo by Sarah Moyer https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1685631001434-YLF8E901UQIBUOOAXH49/SuddenBlow-5.jpg Exhibitions: A Sudden Blow - Installation view, photo by Sarah Moyer https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1685631008318-SQ85KKS8YRC7E2AWBCLI/SuddenBlow-7.jpg Exhibitions: A Sudden Blow - Installation view, photo by Sarah Moyer https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1685631008743-T475M0QRBZA452UAPWK1/SuddenBlow-9.jpg Exhibitions: A Sudden Blow - Installation view, photo by Sarah Moyer https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1685631012088-I856ZOW10JL8OR9R6IQ3/SuddenBlow-10.jpg Exhibitions: A Sudden Blow - Installation view, photo by Sarah Moyer https://www.institute193.org/exhibitions-david-onri-anderson daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1683314214931-A6JG3JM1S8DWCSCVKT98/image-asset.jpeg Exhibitions: David Onri Anderson https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1683314214931-A6JG3JM1S8DWCSCVKT98/image-asset.jpeg Exhibitions: David Onri Anderson https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1683322380163-11NAI1XDQZ5HW2EEHMB4/Pink+Waterpark.jpg Exhibitions: David Onri Anderson - David Onri Anderson, Pink Waterpark, 2023, acrylic on canvas, 12 x 16 inches David Onri Anderson Rapture May 27–July 8, 2023 Institute 193 is pleased to present Rapture, a series of recent paintings by David Onri Anderson. Made over the past six months, this body of work marks a creative departure from the artist’s established style. Known for his meticulously planned psychedelic abstractions and still lifes, here Anderson employs the landscape in an intuition-led mapping of the unconscious. The paintings of Rapture further respond to a disappearing natural world. Simple geometries transform into a place for reflection, an ambient realm humming with ancient life. Anderson describes the process of making as a kind of prayer, an invitation to relinquish control and move with the land: “As I am painting, I often realize that I may have been to that place before—either in the past or in a dream—and there is something there familiar and yet elusive. As urban areas increase and wild land becomes more rare, I crave open spaces, freshness, extreme oldness, and mysterious wilderness. My paintings search for a place to rest, to commune with the Earth, somewhere that hasn’t yet been colonized and overly occupied. Atmosphere, blades of grass, and tiny feathers from birds flying by find their way into my landscapes. Here is a chance for a fresh start with the land––perhaps we can tread more lightly, and take in beauty without adding what is not necessary.” Anderson’s paradise is rich and playful: planes of color swell and squeeze, abrupt lines carve out vivid forms, seemingly solid elements overlap and merge. The joyful palette intensifies this fantastical terrain with hot pinks and sharp greens, washing smooth skies and water in pure blues. Beginning with acrylic on canvas, the artist often incorporates wild flower dyes, walnut ink, and dirt, challenging notions of a divide between the natural and artificial. The scenes themselves suggest duality, combining literal elements with symbolic motifs. Rays of light, pathways, and tree branches allude to growth and movement; floating islands and landmarks offer a pause, altars for reflection. Anderson’s Rapture gestures to nature’s sublime, a profound joy born from communion with the Earth. At the core of his practice is an awareness of the interconnectivity of all things, a sense of greater meaning both in life and death. David Onri Anderson is a Tennessee-born French-Algerian Jewish artist, musician, and curator. He graduated from Watkins College of Art in Nashville with the Anny Gowa Purchase Award in 2016. He has had solo exhibitions at Patrick Painter Gallery (Los Angeles, CA), Blaa Galleri (Copenhagen, DK), Harpy Gallery (Rutherford, NJ), David Lusk Gallery (Nashville, TN), Atlanta Contemporary (Atlanta, GA), among others. In 2020 he published a book of drawings with Zürich-based artist book company, Nieves. His work has been reviewed, exhibited and collected internationally with works in permanent collections including the Soho House in Los Angeles, CA and Nashville, TN, The Joseph Hotel (Nashville, TN), and the Metro Arts Library (Nashville, TN), amongst others. Anderson is the founder and curator of an artist-run space called Electric Shed Gallery in Nashville, TN (2018-present). His work has been reviewed in Art in America, Artnet, BURNAWAY, and DailyLazy, among others. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1683314237068-QQKGEGZJDSM9YLYTLN30/At+Giza+%28For+Sun+Ra%29.jpg Exhibitions: David Onri Anderson - David Onri Anderson, At Giza (For Sun Ra), 2022, acrylic on canvas, 12 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1683314237257-Q26FFZPDH95MMUR2HSWY/Blossoming+On+A+Hill.jpg Exhibitions: David Onri Anderson - David Onri Anderson, Blossoming On A Hill, 2022, acrylic on canvas, 12 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1683314241052-4FAHEOCVDHH8IPIIQNV2/High+at+Central+Park.jpg Exhibitions: David Onri Anderson - David Onri Anderson, High at Central Park, 2022, acrylic on canvas, 12 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1683314241217-KJWWFQV8ICMZ4IKNMN4L/Pink+Lightnin_.jpg Exhibitions: David Onri Anderson - David Onri Anderson, Pink Lightning, 2022, acrylic on canvas, 12 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1683314989820-BOEJP9AW7QLGTINF54JS/Arches+With+Fossils.jpg Exhibitions: David Onri Anderson - David Onri Anderson, Arches With Fossils, 2022, acrylic on canvas, 12 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1683314989888-WIVDFXQNR50DM80MR3YE/Canyon+River+Sunrise.jpg Exhibitions: David Onri Anderson - David Onri Anderson, Canyon River Sunrise, 2022, acrylic on canvas, 12 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1683314992624-38OMINAHER25NM14RXS5/Three+Cliffs.jpg Exhibitions: David Onri Anderson - David Onri Anderson, Three Cliffs, 2023, acrylic on canvas, 12 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1685742136378-GM8AUHH3L3E9O768TV4X/DOA+193+01.jpg Exhibitions: David Onri Anderson - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1685742136387-BUSPQ1ACP4EUDRNUXHCH/DOA+193+02.jpg Exhibitions: David Onri Anderson - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1685742137415-07QAIKDUD14PU65QA7FZ/DOA+193+05.jpg Exhibitions: David Onri Anderson - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1685742138573-1CRDIK7RWDIX8K71YTHP/DOA+193+12.jpg Exhibitions: David Onri Anderson - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1685742138486-NBHAI3R81C8S31H8NHO4/DOA+193+11.jpg Exhibitions: David Onri Anderson - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1685742287256-H4F34F75FTZMIT13OICY/DOA+193+09.jpg Exhibitions: David Onri Anderson - Installation view, photo by Josh Porter https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1685742139458-A7C1MWMRLHQLQ18ZZGXV/DOA+193+13.jpg Exhibitions: David Onri Anderson - Installation view, photo by Josh Porter https://www.institute193.org/exhibitions-coulter-fussell daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1689275205482-D6Z67AF80ES33X8VPK6L/Blackberries%2C+52+x+30%2C+2023.png Exhibitions: Coulter Fussell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1689275205482-D6Z67AF80ES33X8VPK6L/Blackberries%2C+52+x+30%2C+2023.png Exhibitions: Coulter Fussell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1689285813422-I0DL02WITQ8DTEGOY8WH/coulter1.png Exhibitions: Coulter Fussell - Coulter Fussell, Blackberries, 2023, donated textiles and mixed media, 40 x 36 inches Coulter Fussell: Downriver July 21 – August 26, 2023 Institute 193 is pleased to present Downriver, a series of multi-media works by Mississippi-based artist Coulter Fussell. In her own words: I get into my studio every morning around 9:30. It’s an un-air-conditioned, unheated, ill-lit, twice-flooded, former geriatric medical supply storefront with no functioning running water and water-seeping, un-nailable concrete walls. And no Wi-Fi. Virginia Creeper grows from the ceiling on the inside. But it has a roof and a floor. The place is around 100 feet long and 25 feet wide and is absolutely jam packed with thousands of textiles…all in various states of wholeness: clothes, bedsheets, curtains, carpets, blankets, quilts, pillows, t-shirts, beach towels, lawn chair cushions, drapes, sleeping bags, tents, parachutes, and tablecloths. There’s also a substantial number of antique sewing machines, from beautiful little household Singer Featherweights to industrial machines from mill town denim factories. If I use a machine, which is rare, I use a plastic Singer Simple. I want a machine I can beat up without regret and I want to be able to grab another one really quick when it breaks down. I’ll repair it later. Everything in the studio was donated from friends or strangers: every chair, every pencil, every spool of thread, every table, every shelf and every needle. People sometimes leave piles of bulging trash bags at my studio door or they may keep it simple, like a single jar of black walnuts or some raccoon pelts. Or, like happened one time, when an old man in a pick-up truck drove up sideways to the parking spots out the front door and honked his horn to summon me out. When I got to the doorway of the studio, the man reached behind the cab of his truck, through the back window into the bed. He fished around and then tossed to me over the truck roof a single roll of 3-inch golden velvet trim. Then he drove off. No idea who it was. It turns out, we live in a material world and people have a lot to give. The fact that my materials are donated to me is the main qualifying factor that gets a piece of fabric in a work. I’m looking for the path that got it to me, not necessarily what it's "value" is. That is to say, I don’t care if you’re fine European linen tablecloth from 1870 or a brand-new Walmart t-shirt from Tupelo… Are you a good blue and I need a good blue? If so, you’re in. The quality of the fabric outside of its mere existence in my studio doesn’t ever come into consideration. I'm real democratic with my textiles in that way. Every piece is equal in the studio & they all stand an equal chance of making it into a work. My goal every day in the studio is to tell personal stories with the physical remnants of others’ personal stories as my material. I do this in an effort to make connections. Sifting through these old fabrics is an exercise in archeology. I whole-heartedly believe that textiles tell those stories. Another way I go for connections is by grafting artforms. By this I mean having my pieces no more quilt than they are painting and no more sculpture than they are pillow. My work is not a quilt that looks like a painting or a painting that looks like a quilt. I want something else to be born like when you graft a plum branch to a peach tree to create a whole new fruit. All my works ride on the foundations of traditional quilting and doll-making methods and that is my main vehicle. I sew first and last. What happens in the middle is up for grabs. Personally, I think craft is the beginning and end of all art, so that is my mind frame every day. Other than all that, I work on the floor. I don’t sketch anything or plan ahead. I start a work when I see a piece of fabric that makes a spark––one that makes me think I can tell a story. I use a lot of scrap wood and take apart old furniture people give me to use in the works. I hand-sew most everything because it’s pretty and sensible and my main tools are needle, scissors, a jigsaw, and Velcro. Balancing pragmatism with wild abandon is my favorite thing. This is the quilter in me. I usually leave the studio everyday around 3 or 4 when the kids start texting me that they’re hungry and need rides places. Outside of the studio, I read ceaselessly about various human histories so I can decipher what’s happening when I’m back in the studio among all the textiles. I see everything that’s ever happened through the lens of fabric. About the artist: Coulter Fussell (b. 1977, Columbus, GA) hails from a long line of seamstresses and quiltmakers who the artist cites for her love of textiles—particularly her grandmother who could “sew seams tight enough to hold water.” Using discarded and donated textiles as her sole materials, Fussell produces quilt-works that have been exhibited in galleries and museums across the United States including The Halsey Institute of Contemporary Art (Charleston, South Carolina), The Wiregrass Museum of Art, (Dothan, AL), and the Alabama Contemporary Art Center (Mobile, AL). Fussell’s work is also in the permanent collections of Columbus Museum of Art (Georgia) and the Mississippi Museum of Art (Jackson, MS). In 2023 Fussell was a Mississippi Arts Commission Individual Artist Fellowship recipient and inducted into the Mississippi Institute of Arts and Letters. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1689286364676-M35JFBVWYWT82SMTB97C/dogbed.png Exhibitions: Coulter Fussell - Coulter Fussell, Dog Bed, 2022, donated textiles and mixed media, 40 x 36 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1689286365599-I0A2J9ETWFLUBS2PCCLR/girlstrip.png Exhibitions: Coulter Fussell - Coulter Fussell, Girls Trip, 2023, donated textiles and mixed media, 80 x 64 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1689286383051-PO91JO915F74XFJNJ7SR/redroses.png Exhibitions: Coulter Fussell - Coulter Fussell, Red Roses, 2023, donated textiles and mixed media, 37 x 34 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1689286823290-9H1U6U21CSKD8FT4AKVX/Covergae+Area.png Exhibitions: Coulter Fussell - Coulter Fussell, Coverage Area, 2023, donated textiles and mixed media, 96 x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1691074439329-PFS7A96WQFDOB5ZUDVF7/_BCX5825.jpg Exhibitions: Coulter Fussell - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1691074439447-J4Y9E152G11EMBRUCCBB/_BCX5845.jpg Exhibitions: Coulter Fussell - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1691074461171-ANA4FG4GSGA49OC3RWN1/_BCX5868.jpg Exhibitions: Coulter Fussell - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1691074471484-E30LXP5BQDT59GKKCGRY/_BCX5889.jpg Exhibitions: Coulter Fussell - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1691074482253-XYRVQTOJPQ828AS2TTTM/_BCX5901.jpg Exhibitions: Coulter Fussell - Installation view, Photo by Brian Campbell https://www.institute193.org/exhibitions-pagan-babies daily 0.75 2023-09-23 https://static1.squarespace.com/static/5c3cc8a11aef1d1735f564f7/t/650f088ec4519044fe85d44f/1691262614346/ Exhibitions: Pagan Babies https://static1.squarespace.com/static/5c3cc8a11aef1d1735f564f7/64ce9e5dbc66826e7d131c98/64ce9e9664c6987b5d982c8c/1691262614346/ Exhibitions: Pagan Babies https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1692909823849-BO30QCPOBLAOS1WN4LFA/027-lepidoptera%2C+collaboration+between+John+Denny+Ashley+and+Robert+Morgan%2C+circa+1970s%2C+silver+geltain+and+hand+tinted+print%2C+11x14.jpg Exhibitions: Pagan Babies - Collaboration between John Denny Ashley and Robert Morgan, Lepidoptera, circa 1970s, silver gelatin and hand tinted print. Pagan Babies September 14 – November 4, 2023 Institute 193 is pleased to announce Pagan Babies, presented in tandem with a publication by the Faulkner Morgan Archive and Institute 193 of the same name and distributed by the University of Kentucky Press. The exhibition is largely comprised of a thought-to-be-lost portfolio of photographs produced by John Denny Ashley in collaboration with the artist Robert Morgan and his cadre of artists and misfits from the mid-1970s into the 80s. In addition to Ashley’s photographs, the exhibition contains work by other artists depicting the Pagan Babies and their predecessors. In Ashley’s images, the Pagan Babies, with Morgan almost always as the principal subject, inhabit myths from the ancient world, becoming gods, goddesses, and monsters. Settings range from the controlled environment of a photo studio to a bustling Lexington gay bar, to a serene location along the nearby Elkhorn Creek, and into the slowly dilapidating mansions of the city’s formerly genteel downtown. The effect of the exquisitely, magically costumed subjects performing in these disjointed and anachronistic settings is disorienting, strange, and brilliant. Artemis sits on a satin-sheened chair in full regalia, a deeply cracked oil portrait of a wealthy young woman hanging above her. Morgan’s drag alter ego Peggy Fury reclines on a couch flanked on three sides by a miniature reproduction of Michelangelo’s Pieta, Marlene Dietrich, and Jesus Christ. Flower-haired nymphs look back at their voyeur from the rushing, light-dappled water. The subjects, always glamorous, are in various forms of drag and costume. Bird wings, butterflies, wasp nests, and feathers come together to form a headpiece, another features artificial fruit and what might be crepe paper hair. Ashley’s camera renders the humble materials as sumptuous and fine. The photographs are proof of a thriving community of unabashed sexual and gender outlaws in the historical record of a time and place which frequently erases or minimizes the existence of such people. Against considerable odds, Morgan and his compatriots flouted conventions of gender display and sexual openness, both in front of Ashley’s camera, and in their lived experience, an openness that would expose them to the possibility of violence, state-sanctioned or otherwise. Although many of the photos were thought to be lost until recently, the spirit of the Pagan Babies as a social and artistic informal collective would remain and proliferate through the following decades in Lexington, with Morgan always at the center, encouraging and supporting new generations of young queer artists and advocating on behalf other marginalized groups in various capacities, especially those impacted by the HIV/AIDS epidemic and substance use disorders. Now, a half-century after their inception, Ashley’s photographs have taken a circuitous and sometimes troubled path to publication and exhibition. Around the time they were produced, they were lauded by Tennessee Williams in a statement from which only one sentence remains. A deal with the book publishing arm of Aperture was abandoned after Ashley refused it, and the relationship between Morgan and Ashley soured as a result. Many of the photographs were never printed from the negatives, and the prints that did exist wound up under beds and tucked in attics. Morgan would, as his mentor and queer forebearer Henry Faulkner suggested, ‘Save the seeds, children.’ Collected over the course of decades and compiled from over a century of Lexington and Kentucky’s queer history, the seeds that Morgan saved would in 2014 form the basis of the collection that is now the Faulkner Morgan Archive, which has quickly become one of the largest LGBTQ+ archives in the American South. It is through the network that Morgan helped to build over those years that these images have been finally brought to life for the newest generation of Pagan Babies to see. –Paul Michael Brown This exhibition was made possible in part by the generosity of the John Burton Harter Foundation. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1692909818712-VJL1R12PGAVBY3IE97GN/006-ship+of+fools.jpg Exhibitions: Pagan Babies - Collaboration between John Denny Ashley and Robert Morgan, Ship of Fools, circa 1970s, silver gelatin and hand tinted print. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1692909815764-ZBIVJNWL08S89KY44HFY/005-tac-city+%281%29.jpg Exhibitions: Pagan Babies - Collaboration between John Denny Ashley and Robert Morgan, Tac City, circa 1970s, silver gelatin and hand tinted print. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1692909818362-XKMTY30ZIRUMIOQS3QOI/008-eclipse.jpg Exhibitions: Pagan Babies - Collaboration between John Denny Ashley and Robert Morgan, Eclipse, circa 1970s, silver gelatin and hand tinted print. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1692909824159-VXEYOX7I8GRIGIB9RRKX/026-the+water+nymphs.jpg Exhibitions: Pagan Babies - Collaboration between John Denny Ashley and Robert Morgan, The Water Nymphs, circa 1970s, silver gelatin and hand tinted print. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1692909825807-H4031D9EBPHPIY21QSL5/028-desdemona.jpg Exhibitions: Pagan Babies - Collaboration between John Denny Ashley and Robert Morgan, Desdemona, circa 1970s, silver gelatin and hand tinted print. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1695483703256-DCVX99YA45LRXVNI8AC5/full+gallery.jpg Exhibitions: Pagan Babies - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1695483714270-XGNX8ZD8PM6YL935A4MD/left+corner.jpg Exhibitions: Pagan Babies - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1695483722426-SHISNH5DCHF2NKG75WOJ/Left+Wall.jpg Exhibitions: Pagan Babies - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1695483677668-6IQ2AX8ITLFK7K41EJ0E/back+left+corner.jpg Exhibitions: Pagan Babies - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1695483689274-1SYPEX946XMDYOTQIV2E/back+wall.jpg Exhibitions: Pagan Babies - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1695483678230-WGL1F68CFKRG1QDMYUNR/back+right+corner.jpg Exhibitions: Pagan Babies - Installation view, Photo by Brian Campbell https://www.institute193.org/exhibitions-cooper-gibson daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1694117050314-2RIADUR59SKPS2AO6WX2/0006_%23%23%23.jpg Exhibitions: Cooper Gibson - Cooper L. Gibson, Untitled (disco ball), 2020, 35mm film, 10 inches x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1694117050314-2RIADUR59SKPS2AO6WX2/0006_%23%23%23.jpg Exhibitions: Cooper Gibson - Cooper L. Gibson, Untitled (disco ball), 2020, 35mm film, 10 inches x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1694195872950-MEWHAFTCA0QVI57EZUJH/0006_%23%23%23.jpg Exhibitions: Cooper Gibson - Cooper L. Gibson, Untitled (disco ball), 2020, 35mm film, 12 x 9 inches Institute 193 Presents Cooper L. Gibson: Ghosts I Saw September 14 – November 4, 2023 193 N. Limestone Viewable from the front window after dark, Wednesday – Saturday. A ghost is a projection into empty space. A trick of the light, a bleeding of the past into the present. Whether or not we believe in them or explain them away as a glitch of the brain, as a false conclusion drawn from true visual information, they appear. At such a sight, we are drawn to dream of a place’s past inhabitants and the routines they carried out there time after time. In very real ways, the past stays with us, and its residues are apparent everywhere. Some places, especially public ones, can even turn us into ghosts, playing out the past dramas of people that came before. We enter a place like a bar, we know what it is for and how to act there, and so we play along. The dark alcoves are meant for close talk and the sidewalk is for catching your breath. A bare arm brushes against polyester slick with sweat on a summer evening as it’s drawn back before a jolt sends a cueball reeling. Pressed hard and anxiously against a dark wall, a man scans his surroundings for what and who might be next for him. We know the script and it works; we rarely make space for new lines, but when we do, they stick. The roles repeat and are built upon. Sometimes, remarkably, someone writes a whole new role to play. Dancing is close. Breath is hot and wet. The night is dark and long. The smell of their sweat lingers. Here and there, a greasy fingerprint on black paint from yesterday or a year ago catches the light, shines. A lip print is left on a pint glass and who knows how many will kiss it before it comes off clean. —Paul Michael Brown https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1694204401147-0VR8YYXR2E86JXGYV1YD/0024_%23%23%23.jpg Exhibitions: Cooper Gibson - Cooper L. Gibson, Untitled (barstools), 2020, 35mm film, 9 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1694195863802-9U4UTZA5BXC1Z065AIE3/0003_%23%23%23.jpg Exhibitions: Cooper Gibson - Cooper L. Gibson, Untitled (ashtray), 2020, 35mm film, 12 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1694195870449-8Z6T6AA1CIPZTG3O7NXX/0005_%23%23%23.jpg Exhibitions: Cooper Gibson - Cooper L. Gibson, Untitled (pool table), 2020, 35mm film, 12 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1694204426269-64H27FH7TERG545QUFCJ/0026_%23%23%23.jpg Exhibitions: Cooper Gibson - Cooper L. Gibson, Untitled (poster), 2020, 35mm film, 9 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1694204524518-2MKB0PSQ4R4FP7RNOH2N/untitled+%28paradise%29.jpg Exhibitions: Cooper Gibson - Cooper L. Gibson, Untitled (paradise), 2023, digital collage, 10 x 8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1696102975867-1FDZZZI9F6Y5MI68SEF0/_BCX7904.jpg Exhibitions: Cooper Gibson - Installation view, photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1696103419019-MM2QXLFDOKE6C5S6V57B/_BCX7838.jpg Exhibitions: Cooper Gibson - Installation view, photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1696103418867-6EL9Q33MW64LBOD2CLR4/_BCX7843.jpg Exhibitions: Cooper Gibson - Installation view, photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1696103420915-WG2T5GBL8683RT8YZG3Y/_BCX7848.jpg Exhibitions: Cooper Gibson - Installation view, photo by Brian Campbell https://www.institute193.org/exhibitions-john-hee-taek-chae daily 0.75 2024-01-12 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1699480103966-T3TQ44B0LB74C0H7GZ44/Chae193-11.jpg Exhibitions: John Hee Taek Chae - Detail of John Hee Taek Chae, we know so little of us (back), 2023, oil on linen, cyanotype, fabric dye on linen, silk, cotton, and polyester, 94 x 57 inches. John Hee Taek Chae A Dark and Bloody Ground November 17, 2023 - February 17, 2024 You have bought a fair land, but you will find its settlement dark and bloody. – Dragging Canoe, Leader of the Cherokee Nation Then they said, “Come, let us build ourselves a city, with a tower that reaches to the heavens, so that we may make a name for ourselves; otherwise we will be scattered over the face of the whole earth.” – Genesis 11:1-9, NKJV Just as none of us is outside or beyond geography, none of us is completely free from the struggle over geography. That struggle is complex and interesting because it is not only about soldiers and cannons but also about ideas, about forms, about images and imaginings. ― Edward W. Said, Culture and Imperialism About an hour’s drive east of Lexington, Kentucky sits the town of Mount Sterling. Established in 1792, the settlement was initially named “Little Mountain Town” after the colossal burial mound that once rested at its center. Constructed roughly 2,000 years ago by the Adena people, the Little Mountain Indian Mound was 25 feet tall and 125 feet wide, a heavy presence in the heart of the land. In 1845, European settlers removed the ancient mound in order to build a house. Arrowheads, beads, stone tools, and human bones were discovered within; the skeletons were found with strings of shells around their necks. A sacred site is reduced to a flattened crossroads. Elsewhere, new buildings are erected with eternity in mind. As Americans, we are encouraged to claim this country from childhood. We are taught to sing: “This land is your land, this land is my land…this land was made for you and me.” The children of immigrant families are encouraged to build something for themselves, to override what has been lost by attaining a new dream. Stories of another land both affirm and confound us––we have come to belong here, yet cannot ease the longing for a place we may have never seen. John Hee Taek Chae’s A Dark and Bloody Ground echoes the distant past, blending historic residues to illustrate an imaginary homecoming. He explores our collective of mutating stories, challenging the sense of lack that drives so many to pack up and start over again. Chae’s materials echo these cycles: the wooden frames supporting each artwork are recycled from a previous body of work, revealing taglines––“perpetual foreignness” and “we know so little of us”–– that take on new meaning. Patchwork canvases are printed with cyanotype, yielding vague and hazy maps and landscapes in rich, fluid blue. Anonymous yet familiar, the prints are made from AI-generated images. Chae merges historic maps, East Asian brush paintings, Western oil paintings, and photos of wooden masks. Mutations abound and chaos is organized into an uncanny equilibrium. Small, shining landscapes float on the reverse of these uncertain scenes: paintings by Albert Pinkham Ryder, George Inness, and James McNeill Whistler are blended into glimpses of a perfect, promised land. The resulting images reflect all the qualities of American Tonalism, an artistic movement that preceded the First World War. Glowing and rich with atmosphere, these paintings emphasize––in more ways than one––a heightened sense of beauty before darkness sets in. There is a well-known myth that the true meaning of the word Kentucky is “a dark and bloody ground,” a Cherokee description repurposed by European settlers to suggest that the land’s ownership was disputed and that it was thus free for the taking. In reality, the etymology is likely tied to the Iroquois word kentake, meaning “meadow land,” or potentially the Algonquian name for a river bottom: kin-athiki. Equally possible is that the name comes from a dead Iroquoian language called Wyandot. In Wyandot, ken-tah-ten means “land of tomorrow.” Our feet may have never touched the earth once tilled by our ancestors; we may long for a place only known through stories and fantasy. A Dark and Bloody Ground is as much an acknowledgement of the past as it is an invitation for the future. Chae asks us what it means for us to make this land our home. He questions the role and validity of possession as it has long existed, a practice inevitably disrupted by the passing of time. Finally, he employs new technologies alongside tradition in this vision for the future: a land truly reflective of its history, a living archive of all those who make their home upon it. –Maria Owen John Hee Taek Chae was born in Boulder, Colorado, grew up in Seoul, Korea, studied in Baltimore, Maryland, and taught in Richmond, Virginia. Today, Chae lives in Houston, Texas, having made his home in the Southern United States for the past seven years. Chae received his BFA from the Maryland Institute College of Art in 2010 and his MFA in Painting and Printmaking from Virginia Commonwealth University in 2020. His previous solo exhibitions include Shed Your Eyes at MARCH (New York, NY), Western Paintings at D. D. D. D. (New York, NY), and Make. Believe. at MOCA Jacksonville (Jacksonville, FL), among others, and he was awarded the MacDowell Fellowship in 2021. Chae is currently the Cynthia Woods Mitchell Scholar in Residence at the University of Houston. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1699480103966-T3TQ44B0LB74C0H7GZ44/Chae193-11.jpg Exhibitions: John Hee Taek Chae - Detail of John Hee Taek Chae, we know so little of us (back), 2023, oil on linen, cyanotype, fabric dye on linen, silk, cotton, and polyester, 94 x 57 inches. John Hee Taek Chae A Dark and Bloody Ground November 17, 2023 - February 17, 2024 You have bought a fair land, but you will find its settlement dark and bloody. – Dragging Canoe, Leader of the Cherokee Nation Then they said, “Come, let us build ourselves a city, with a tower that reaches to the heavens, so that we may make a name for ourselves; otherwise we will be scattered over the face of the whole earth.” – Genesis 11:1-9, NKJV Just as none of us is outside or beyond geography, none of us is completely free from the struggle over geography. That struggle is complex and interesting because it is not only about soldiers and cannons but also about ideas, about forms, about images and imaginings. ― Edward W. Said, Culture and Imperialism About an hour’s drive east of Lexington, Kentucky sits the town of Mount Sterling. Established in 1792, the settlement was initially named “Little Mountain Town” after the colossal burial mound that once rested at its center. Constructed roughly 2,000 years ago by the Adena people, the Little Mountain Indian Mound was 25 feet tall and 125 feet wide, a heavy presence in the heart of the land. In 1845, European settlers removed the ancient mound in order to build a house. Arrowheads, beads, stone tools, and human bones were discovered within; the skeletons were found with strings of shells around their necks. A sacred site is reduced to a flattened crossroads. Elsewhere, new buildings are erected with eternity in mind. As Americans, we are encouraged to claim this country from childhood. We are taught to sing: “This land is your land, this land is my land…this land was made for you and me.” The children of immigrant families are encouraged to build something for themselves, to override what has been lost by attaining a new dream. Stories of another land both affirm and confound us––we have come to belong here, yet cannot ease the longing for a place we may have never seen. John Hee Taek Chae’s A Dark and Bloody Ground echoes the distant past, blending historic residues to illustrate an imaginary homecoming. He explores our collective of mutating stories, challenging the sense of lack that drives so many to pack up and start over again. Chae’s materials echo these cycles: the wooden frames supporting each artwork are recycled from a previous body of work, revealing taglines––“perpetual foreignness” and “we know so little of us”–– that take on new meaning. Patchwork canvases are printed with cyanotype, yielding vague and hazy maps and landscapes in rich, fluid blue. Anonymous yet familiar, the prints are made from AI-generated images. Chae merges historic maps, East Asian brush paintings, Western oil paintings, and photos of wooden masks. Mutations abound and chaos is organized into an uncanny equilibrium. Small, shining landscapes float on the reverse of these uncertain scenes: paintings by Albert Pinkham Ryder, George Inness, and James McNeill Whistler are blended into glimpses of a perfect, promised land. The resulting images reflect all the qualities of American Tonalism, an artistic movement that preceded the First World War. Glowing and rich with atmosphere, these paintings emphasize––in more ways than one––a heightened sense of beauty before darkness sets in. There is a well-known myth that the true meaning of the word Kentucky is “a dark and bloody ground,” a Cherokee description repurposed by European settlers to suggest that the land’s ownership was disputed and that it was thus free for the taking. In reality, the etymology is likely tied to the Iroquois word kentake, meaning “meadow land,” or potentially the Algonquian name for a river bottom: kin-athiki. Equally possible is that the name comes from a dead Iroquoian language called Wyandot. In Wyandot, ken-tah-ten means “land of tomorrow.” Our feet may have never touched the earth once tilled by our ancestors; we may long for a place only known through stories and fantasy. A Dark and Bloody Ground is as much an acknowledgement of the past as it is an invitation for the future. Chae asks us what it means for us to make this land our home. He questions the role and validity of possession as it has long existed, a practice inevitably disrupted by the passing of time. Finally, he employs new technologies alongside tradition in this vision for the future: a land truly reflective of its history, a living archive of all those who make their home upon it. –Maria Owen John Hee Taek Chae was born in Boulder, Colorado, grew up in Seoul, Korea, studied in Baltimore, Maryland, and taught in Richmond, Virginia. Today, Chae lives in Houston, Texas, having made his home in the Southern United States for the past seven years. Chae received his BFA from the Maryland Institute College of Art in 2010 and his MFA in Painting and Printmaking from Virginia Commonwealth University in 2020. His previous solo exhibitions include Shed Your Eyes at MARCH (New York, NY), Western Paintings at D. D. D. D. (New York, NY), and Make. Believe. at MOCA Jacksonville (Jacksonville, FL), among others, and he was awarded the MacDowell Fellowship in 2021. Chae is currently the Cynthia Woods Mitchell Scholar in Residence at the University of Houston. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1699480344248-D96PC6SV5DHJSRFEHFPO/6.JPG Exhibitions: John Hee Taek Chae - Detail of John Hee Taek Chae, we know so little of us (back), 2023, oil on linen, cyanotype, fabric dye on linen, silk, cotton, and polyester, 14 x 11 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1699479195913-R0DUHX1NW5K3G14CVGFF/2.jpg Exhibitions: John Hee Taek Chae - Detail of John Hee Taek Chae, we know so little of us (front), 2023, cyanotype and fabric dye on linen, silk, cotton, and polyester, 94 x 57 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1699462394687-CSZHBEQKTIRK5E3386CO/4.jpg Exhibitions: John Hee Taek Chae - A detail of John Hee Taek Chae, Fugue State (back). cyanotype and fabric dye on linen, silk, cotton, and polyester, 94 x 57 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1699480785104-UN3A2L4UM8VTE0SLXL6G/5.jpg Exhibitions: John Hee Taek Chae - A detail of John Hee Taek Chae, The Peak in the Meadow (front), 2023, cyanotype and fabric dye on linen, silk, cotton, and polyester, 94 x 57 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1699479222425-6PLLGJYVK75QWM39SAQ2/3.JPG Exhibitions: John Hee Taek Chae - Detail of John Hee Taek Chae, we know so little of us (back), 2023, oil on linen, cyanotype, fabric dye on linen, silk, cotton, and polyester, 14 x 11 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1700155822228-Z9BDF6B1LCEWD7EHTYWM/Chae-01+%281%29.jpg Exhibitions: John Hee Taek Chae - John Hee Taek Chae, The Towers (front), 2023, cyanotype and dye on linen, silk, cotton, and polyester, 94 x 52 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1700258972338-6MCBOPLMFUBI54HNEZ83/Chae-06%28back%29.jpg Exhibitions: John Hee Taek Chae - John Hee Taek Chae, The Tower (sunset) (verso), 2023, cyanotype and dye on linen, silk, cotton, and polyester, 94 x 52 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1700323871886-G5R2Y2KBWLDYIHPND5YS/Chae-06.jpg Exhibitions: John Hee Taek Chae - John Hee Taek Chae, The Tower (sunset), 2023, Cyanotype and dye on linen, silk, cotton, and polyester, 94 x 52 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1702481721930-QEH4LICOK03RPYDM93UM/_BCX3398.jpg Exhibitions: John Hee Taek Chae - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1701969545378-5XGZE9MJHVQOA2PIJQVE/_BCX3448.jpg Exhibitions: John Hee Taek Chae - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1702480862308-O5QTLL8XR18E4I0BMOK8/_BCX3455.jpg Exhibitions: John Hee Taek Chae - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1701969551462-MECNQ7KJ95SJ4H2K07X3/_BCX3471.jpg Exhibitions: John Hee Taek Chae - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1701969548961-QZS5YR18FF2DBCT5RWY9/_BCX3469.jpg Exhibitions: John Hee Taek Chae - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1701969546978-OAWE3LYJM658RGMZBJVM/_BCX3458.jpg Exhibitions: John Hee Taek Chae - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1702480866383-UA5HHDW3VDVKGD4UQZDY/_BCX3474.jpg Exhibitions: John Hee Taek Chae - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1702480867679-SIKOIOF6HNWA94KEXEXC/_BCX3478.jpg Exhibitions: John Hee Taek Chae - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1701969553235-Z53KSAWWCJFR2GV70V3J/_BCX3480.jpg Exhibitions: John Hee Taek Chae - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1701969542791-3TO6P6OMV295W2GRU7DW/_BCX3492.jpg Exhibitions: John Hee Taek Chae - Installation view, Photo by Brian Campbell https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1702480870369-OQZJ86JKN7GYG5HQ29Y8/_BCX3498.jpg Exhibitions: John Hee Taek Chae - Installation view, Photo by Brian Campbell https://www.institute193.org/exhibitions-richard-dial-ky daily 0.75 2024-03-13 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709840476200-38XZ6CRNN1447OXP24QC/Screenshot+2024-02-22+at+1.17.02%E2%80%AFPM.png Exhibitions: Richard Dial KY - Richard Dial, "Laid Back", 2023, oil-based paint on metal, fabric, and wood, 53 x 81 x 29 inches Richard Dial Everyday Love February 23 – April 13, 2024 Institute 193 is pleased to announce Everyday Love, a solo exhibition of the work of Bessemer, Alabama-based artist Richard Dial. The culmination of an artistic career spanning well over 30 years, this will be Dial’s first solo exhibition. An artist capable of so thoroughly invoking the all-encompassing emotionality of experiences like holding a child, grazing the hand of a new lover, or luxuriating in bed on your one day off work is a rare thing already. Rarer still is one who can structure that intensity through the form of an object which has become so culturally banal, and in the process imply that every such unconsidered object could become the vessel of a powerful emotional richness. Using the wreckage of the same industrial system implicated in both the contemporary landscape of bland material culture and in the subjugation of Black lives throughout the history of this country, Richard Dial stretches, bends, and modulates an instantly recognizable object until it is capable of carrying the wild intensity of life’s everyday intimacies. In 1984, amidst the closure of the Pullman Standard Company factory where he worked for much of his life, Richard Dial and his brother Dan established Dial Metal Patterns with the support of their father, Thornton Dial. The family business was designed to take advantage of the collapse of the industrial economy that had long structured their home of Bessemer, Alabama, as well as the subsequent boom in availability of skilled labor. A sustained engagement with furniture-making through the company’s “Shade Tree Comfort” line of patio furniture led Richard to begin making chairs as art objects, using both his mastery of metalworking techniques and an inventive, socially-engaged artistic vision to explore the possibilities of re-animating an object blunted by globalized industrial production. An initial flurry of work in the late 1980s contributed to Dial’s early recognition, after which he shifted his focus back to the family business, leaving little time for artistic pursuits. When business died down, a second wave of creative activity in the mid-2000s prefigured his recent inclusion in major museum shows in New York, Houston, and Toledo, Ohio. Shortly after, Dial put his artistic production on hold once more as caring for his aging father took precedence. In recent years, he has resumed making work, creating the series presented here: a reflection on the long process of caring for his parents and other deeply intimate family experiences, placing everyday concerns about love, friendship, and labor on their properly spiritual plane. Much critical work on Dial and his fellow travelers in the Southern “self-taught” art landscape has focused on the transmutations of traditional African forms and motifs over the course of the Atlantic slave trade and its aftermath––hundreds of years of slavery, dispossession, and oppression––during which Dial and his ancestors participated in the construction of the American economic empire while being violently excluded from the vast majority of its spoils. African craft workers often used objects as containers or vehicles for the housing of specific spiritual forces, be they elemental, animistic, or ancestral. In many cases, the role these objects played as carriers of spiritual or socio-political importance was overlaid upon them as an aspect of their use value, not something that sequestered them into a strictly religious or intellectual realm separate from the quotidian. Thus, while laudable on their own as pieces of contemporary sculpture, it's vital to keep sight of the chair form as a non-negotiable throughline in Richard’s artistic work. Despite clear shared concerns and techniques with his father and brother, who also created large-scale metal sculptures incorporating the excess of industrial materials surrounding their home, it is Richard’s work which relentlessly weaves together the fine lines that divide the furnishing, an object of use, from the artwork, an object of contemplation. Alongside the specific concerns of each piece, his attachment to this form functions as a rebuke of the slow dis-enchantment of objects like the chair, the likes of which we cannot help but build an intimate, multivalenced relationship with over the course of our lives. Intensity of experience can be difficult, and Richard’s chairs don’t shy away from this. Like the lives of our friends, neighbors, and loved ones, they are wrenched into improbable shapes. Their feet, often literalized as the feet of the figures depicted in each chair, splay out at strange angles. Symmetry is avoided at all costs, which Dial often calls attention to by drastically offsetting the height of the chair’s arms. The upholstery, a relatively new feature predominant in his recent works, is treated with paint until it resembles a quilt left in the woods, digested by moss or mold. And finally, there are the figures, deftly executed line drawings in metal worked into the backs of the chairs. While enmeshed in the flayed, patinaed metal of the chair, they are serene, fully occupied with devotion, rest, solidarity, or deliberation. Buffeted by the severity of raw life, through hard-won skills and the depth of love, they possess grace. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709840476200-38XZ6CRNN1447OXP24QC/Screenshot+2024-02-22+at+1.17.02%E2%80%AFPM.png Exhibitions: Richard Dial KY - Richard Dial, "Laid Back", 2023, oil-based paint on metal, fabric, and wood, 53 x 81 x 29 inches Richard Dial Everyday Love February 23 – April 13, 2024 Institute 193 is pleased to announce Everyday Love, a solo exhibition of the work of Bessemer, Alabama-based artist Richard Dial. The culmination of an artistic career spanning well over 30 years, this will be Dial’s first solo exhibition. An artist capable of so thoroughly invoking the all-encompassing emotionality of experiences like holding a child, grazing the hand of a new lover, or luxuriating in bed on your one day off work is a rare thing already. Rarer still is one who can structure that intensity through the form of an object which has become so culturally banal, and in the process imply that every such unconsidered object could become the vessel of a powerful emotional richness. Using the wreckage of the same industrial system implicated in both the contemporary landscape of bland material culture and in the subjugation of Black lives throughout the history of this country, Richard Dial stretches, bends, and modulates an instantly recognizable object until it is capable of carrying the wild intensity of life’s everyday intimacies. In 1984, amidst the closure of the Pullman Standard Company factory where he worked for much of his life, Richard Dial and his brother Dan established Dial Metal Patterns with the support of their father, Thornton Dial. The family business was designed to take advantage of the collapse of the industrial economy that had long structured their home of Bessemer, Alabama, as well as the subsequent boom in availability of skilled labor. A sustained engagement with furniture-making through the company’s “Shade Tree Comfort” line of patio furniture led Richard to begin making chairs as art objects, using both his mastery of metalworking techniques and an inventive, socially-engaged artistic vision to explore the possibilities of re-animating an object blunted by globalized industrial production. An initial flurry of work in the late 1980s contributed to Dial’s early recognition, after which he shifted his focus back to the family business, leaving little time for artistic pursuits. When business died down, a second wave of creative activity in the mid-2000s prefigured his recent inclusion in major museum shows in New York, Houston, and Toledo, Ohio. Shortly after, Dial put his artistic production on hold once more as caring for his aging father took precedence. In recent years, he has resumed making work, creating the series presented here: a reflection on the long process of caring for his parents and other deeply intimate family experiences, placing everyday concerns about love, friendship, and labor on their properly spiritual plane. Much critical work on Dial and his fellow travelers in the Southern “self-taught” art landscape has focused on the transmutations of traditional African forms and motifs over the course of the Atlantic slave trade and its aftermath––hundreds of years of slavery, dispossession, and oppression––during which Dial and his ancestors participated in the construction of the American economic empire while being violently excluded from the vast majority of its spoils. African craft workers often used objects as containers or vehicles for the housing of specific spiritual forces, be they elemental, animistic, or ancestral. In many cases, the role these objects played as carriers of spiritual or socio-political importance was overlaid upon them as an aspect of their use value, not something that sequestered them into a strictly religious or intellectual realm separate from the quotidian. Thus, while laudable on their own as pieces of contemporary sculpture, it's vital to keep sight of the chair form as a non-negotiable throughline in Richard’s artistic work. Despite clear shared concerns and techniques with his father and brother, who also created large-scale metal sculptures incorporating the excess of industrial materials surrounding their home, it is Richard’s work which relentlessly weaves together the fine lines that divide the furnishing, an object of use, from the artwork, an object of contemplation. Alongside the specific concerns of each piece, his attachment to this form functions as a rebuke of the slow dis-enchantment of objects like the chair, the likes of which we cannot help but build an intimate, multivalenced relationship with over the course of our lives. Intensity of experience can be difficult, and Richard’s chairs don’t shy away from this. Like the lives of our friends, neighbors, and loved ones, they are wrenched into improbable shapes. Their feet, often literalized as the feet of the figures depicted in each chair, splay out at strange angles. Symmetry is avoided at all costs, which Dial often calls attention to by drastically offsetting the height of the chair’s arms. The upholstery, a relatively new feature predominant in his recent works, is treated with paint until it resembles a quilt left in the woods, digested by moss or mold. And finally, there are the figures, deftly executed line drawings in metal worked into the backs of the chairs. While enmeshed in the flayed, patinaed metal of the chair, they are serene, fully occupied with devotion, rest, solidarity, or deliberation. Buffeted by the severity of raw life, through hard-won skills and the depth of love, they possess grace. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709839962345-2UB96YEK5QYWMLIE7UIF/image-asset.jpeg Exhibitions: Richard Dial KY - Richard Dial, "Everyday Love", 2021, oil-based paint on metal, fabric, 64 x 27 1⁄2 x 25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709840105441-YRQ588X7TAVIAL368FJI/3B7A8682.JPG Exhibitions: Richard Dial KY - Richard Dial, "Day Off", 2023, oil-based paint on metal and carpet, 66 x 29 x 35 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709839875205-VCN3CLK1BK93JBDPHE3P/3B7A8687.JPG Exhibitions: Richard Dial KY - Richard Dial, "Time for Prayer", 2023, oil-based paint on metal and carpet, 59 1⁄2 x 30 1⁄2 x 37 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709840698526-LW4TVW65CZ5RT6BC6675/3B7A8692.JPG Exhibitions: Richard Dial KY - Richard Dial, "Lady Next Door", 2023, oil-based paint on metal and carpet, 65 1⁄2 x 28 x 33 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709840864823-ITXN232CWBI2WUVLXZN9/3B7A8704.JPG Exhibitions: Richard Dial KY - Richard Dial, "First Date", 2022, oil-based paint on metal, 68 x 26 x 30 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709841038282-V36IHETI5T7L94RTI5I2/3B7A8709.JPG Exhibitions: Richard Dial KY - Richard Dial, "Precious", 2021, oil-based paint on metal, fabric, 62 x 28 x 26 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709841186084-QGKW5PWWC3A3ZQUY7VFO/3B7A8713.JPG Exhibitions: Richard Dial KY - Richard Dial, "I Got Your Back", 2022, oil-based paint on metal, carpet, 62 x 31 1⁄4 x 31 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710179895095-N67F35PQLGCD7UHXUD1D/dial2-12_websize.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710179912136-XIHR4NKXRLOWK8KZB94M/dial2-02_websize.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710179909966-VQJB1WS8XPTVIBCYH1HB/dial2-03_websize.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710342103501-935SGGX4FVAH9ESGJ9S6/dial-institute193-16.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710179909645-FG3DA30M3XIKPAK04FBP/dial2-04_websize.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710342105642-TFWOS4V9N3VQN8P8T4XO/dial-institute193-41.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710179906959-7CY52P9Y89G5VI79UNVU/dial2-05_websize.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710342105624-WK6Y7ADFLA4SDLA5O4RW/dial-institute193-06.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710179905578-PL6ZYQJBZZ6K98DDKBN6/dial2-06_websize.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710179904134-N3A7MKTFT7QRAL749MPN/dial2-07_websize.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710342104573-B02HAT34SCK5WU99HS0H/dial-institute193-43.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710342103444-O0VVDKLM41UC6GL0VG8Q/dial-institute193-44.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710179900926-SLLEV0PYRBEQC7N0QEGP/dial2-09_websize.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710179902449-2NXKKM8HD3QD7IZJMFKB/dial2-08_websize.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710342104537-2I9R6XGQSWZ74UJCFFCZ/dial-institute193-10.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710179899261-HGD6Y9107UYK2OTW5MNP/dial2-10_websize.jpg Exhibitions: Richard Dial KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1710179897958-PJVRPOGG202IK6TNASAL/dial2-11_websize.jpg Exhibitions: Richard Dial KY - Installation view of Richard Dial: "Everyday Love", 2024. Image by Cassie Lopez. https://www.institute193.org/exhibitions-kiah-celeste daily 0.75 2024-03-07 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709154917448-A26YHMLQ7E12V1CX22SG/kiahceleste-institute193-09.jpg Exhibitions: Kiah Celeste KY - Kiah Celeste, "Chaos! Is Restored", 2024, Natural latex tubing, drywall, exposed brick, Dimensions variable. Image by Cassie Lopez. Kiah Celeste Chaos! Is Restored February 23 – April 13, 2024 Viewable from the front window at all hours, seven days a week. “Nor public flame, nor private, dares to shine; Nor human spark is left, nor glimpse divine! Lo! thy dread empire, Chaos! is restored; Light dies before thy uncreating word: Thy hand, great Anarch! lets the curtain fall; And universal darkness buries all.” — Alexander Pope, The Dunciad Upon the third day of install of Chaos! Is Restored, connecting tube after tube from wall to opposite wall in careful symmetry, muscles sore from stretching three feet to ten, Kiah Celeste connects the fiftieth of fifty-four tubes to complete the repetitive, pristine decline of an aesthetically minimalistic work before tension intervenes. Each latex tube microscopically delves into decay - but not before the wall does. When viewing Chaos! Is Restored, the process of transition is intensely evident. The Greek root of entropy translates to “a turning towards transformation” — with that transformation being chaos. The pressure and tension built by stressing the latex molecules accelerated a transformation that could have taken months, into one fell swoop. By way of this instant shift reveals another course of entropy; the exposed brick, crumbling muted pink plaster and a shoddy wood frame which rested in gradual degradation behind the intervention of a fifteen-year-old mask of white drywall, time exposes its vandalism physically and historically. Some creations are made in disregard of inevitable disorder, others in spite of it, and others still in acceptance and embrace. Celeste is not denying the passage of eternity, but is enveloped by it in celebration. Kiah Celeste (b. 1994, Brooklyn, NY) lives and works in Louisville, KY. In 2016 she received a BFA in photography from the State University of New York at Purchase. Recent solo and group exhibitions include Speed Museum, Louisville, KY (2023); DOCUMENT, Lisbon, Portugal (2023); Swivel Gallery, Brooklyn, NY (2023); DOCUMENT, Chicago, IL (2022); KMAC Museum, Louisville, KY (2021); University of Kentucky Art Museum, Lexington, KY (2021); Centre d’Art La Rectoria, Sant Pere De Vilamajor, Barcelona, Spain (2020); and Dadapost, Berlin, Germany (2020). Celeste’s work lives in numerous private collections and was recently gifted to the Speed Museum in Louisville. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709154917448-A26YHMLQ7E12V1CX22SG/kiahceleste-institute193-09.jpg Exhibitions: Kiah Celeste KY - Kiah Celeste, "Chaos! Is Restored", 2024, Natural latex tubing, drywall, exposed brick, Dimensions variable. Image by Cassie Lopez. Kiah Celeste Chaos! Is Restored February 23 – April 13, 2024 Viewable from the front window at all hours, seven days a week. “Nor public flame, nor private, dares to shine; Nor human spark is left, nor glimpse divine! Lo! thy dread empire, Chaos! is restored; Light dies before thy uncreating word: Thy hand, great Anarch! lets the curtain fall; And universal darkness buries all.” — Alexander Pope, The Dunciad Upon the third day of install of Chaos! Is Restored, connecting tube after tube from wall to opposite wall in careful symmetry, muscles sore from stretching three feet to ten, Kiah Celeste connects the fiftieth of fifty-four tubes to complete the repetitive, pristine decline of an aesthetically minimalistic work before tension intervenes. Each latex tube microscopically delves into decay - but not before the wall does. When viewing Chaos! Is Restored, the process of transition is intensely evident. The Greek root of entropy translates to “a turning towards transformation” — with that transformation being chaos. The pressure and tension built by stressing the latex molecules accelerated a transformation that could have taken months, into one fell swoop. By way of this instant shift reveals another course of entropy; the exposed brick, crumbling muted pink plaster and a shoddy wood frame which rested in gradual degradation behind the intervention of a fifteen-year-old mask of white drywall, time exposes its vandalism physically and historically. Some creations are made in disregard of inevitable disorder, others in spite of it, and others still in acceptance and embrace. Celeste is not denying the passage of eternity, but is enveloped by it in celebration. Kiah Celeste (b. 1994, Brooklyn, NY) lives and works in Louisville, KY. In 2016 she received a BFA in photography from the State University of New York at Purchase. Recent solo and group exhibitions include Speed Museum, Louisville, KY (2023); DOCUMENT, Lisbon, Portugal (2023); Swivel Gallery, Brooklyn, NY (2023); DOCUMENT, Chicago, IL (2022); KMAC Museum, Louisville, KY (2021); University of Kentucky Art Museum, Lexington, KY (2021); Centre d’Art La Rectoria, Sant Pere De Vilamajor, Barcelona, Spain (2020); and Dadapost, Berlin, Germany (2020). Celeste’s work lives in numerous private collections and was recently gifted to the Speed Museum in Louisville. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709155454394-6M9GP4PDC3QBRPNTFJOT/kiahceleste-institute193-08.jpg Exhibitions: Kiah Celeste KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709155465946-B04FNYROACO261ACP9DE/kiahceleste-institute193-06.jpg Exhibitions: Kiah Celeste KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709155472232-CD1IRADOJ2E2GA8GEW76/kiahceleste-institute193-07.jpg Exhibitions: Kiah Celeste KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709155485478-YBW1KFR2J74VK0OFSEDV/kiahceleste-institute193-28.jpg Exhibitions: Kiah Celeste KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709155628011-KYK5OK2RUBZN2MN1KVZ7/kiahceleste-institute193-04.jpg Exhibitions: Kiah Celeste KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709155503395-QA7C9KATXNDSR73OA1EQ/kiahceleste-institute193-01.jpg Exhibitions: Kiah Celeste KY - Kiah Celeste, "Chaos! Is Restored", 2024, Natural latex tubing, drywall, exposed brick, Dimensions variable. Images by Cassie Lopez. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709747961142-LSVI9HCD7NQ3QVXXKGUL/kiahceleste-institute193-23.jpg Exhibitions: Kiah Celeste KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709748020716-3B7ZP0XMHAGE99SJ5HV2/kiahceleste-institute193-31.jpg Exhibitions: Kiah Celeste KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709748114956-VHR0BKOUS78D79K6O2IM/kiahceleste-institute193-22.jpg Exhibitions: Kiah Celeste KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709748135198-KAHMR173Y2LS1BEGF7YZ/kiahceleste-institute193-19.jpg Exhibitions: Kiah Celeste KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1709748155497-JI5UMLY3SI2QVTB4F78V/kiahceleste-institute193-17.jpg Exhibitions: Kiah Celeste KY - Kiah Celeste, "Chaos! Is Restored", 2024, Natural latex tubing, drywall, exposed brick, Dimensions variable. Images by Cassie Lopez. https://www.institute193.org/exhibitions-robert-oglander daily 0.75 2024-05-17 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713232387029-M8N4DNKIVBSF2SFO27HL/Slide+16_9+-+235.jpg Exhibitions: Robert Oglander KY Robert Oglander Busy Every Day April 19 – June 08, 2024 Robert Oglander was a merchant for many years, born into a family of clothiers in 1930. He entered his father’s business along with his three brothers, and would continue in the clothing trade for his working life. While Oglander always gravitated towards the creative elements of the business––trimming a window, designing a billboard, creating advertisements for the local newspaper––he never thought of himself as an artist. In the early 1970s, on an antique-hunting trip to Dallas with his wife, he happened to see a woman latch-hooking a rug. Struck by the craft, he ordered a kit for himself to try, and subsequently embarked on a kind of self-imposed apprenticeship, spending years learning to hook using easily available kits from local craft stores, and later from the internet. He liked the focus required to follow the patterns with his stitching, and as he aged he found the demanding physicality of the hand work helped to stave off his arthritis. As he grew more comfortable with the process, his work became more ambitious, culminating in a giant oval rug, a gift for his mother-in-law, which was nearly eleven feet across and took over a year to finish. Nowadays, he latch-hooks every day, for several hours, at a table his family purchased specially for him to work at. After years of learning to execute the manufactured patterns, with their pre-cut yarn, instructions, and picture of the intended final product, something within him transformed, seemingly overnight, and he began hooking outside the lines. Abandoning the orchids, rainbows, horses, and sunsets common to the manufacturers’ catalogs, Oglander simply turned the pattern over and began making his own designs. Neither his wife, nor his son remember any particular reason for the sudden shift. The closest to an explanation Oglander himself offers is that he simply had some extra yarn lying around that he wanted to use. Oglander has now spent the last fifteen years continuing to create his own rugs, with an ever evolving complexity. In the twenty-four pieces exhibited here, his eye for color, composition, and texture is immediately clear, perhaps refined over his long career in the clothing industry. Equally evident is his skill with the latch-hook. In some pieces, he subtly varies the length of the fibers, or oscillates the density of their presence in the mesh backing. In others, he introduces pointillist bursts of color to disrupt or surround the dense, swirling geometries that form the backbone of most works. He’ll often search out vintage yarns from the hinterlands of the internet to achieve a particular effect. Some pieces suggest landscapes viewed from far above, with rivers or roads meandering through fields of greens and browns, while others are reminiscent of sacred runes or hieroglyphics, with an indeterminate but potent spiritual force. In all of them, a sense of joy in the process of creation and the uncovering of the new is palpable. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713232387029-M8N4DNKIVBSF2SFO27HL/Slide+16_9+-+235.jpg Exhibitions: Robert Oglander KY Robert Oglander Busy Every Day April 19 – June 08, 2024 Robert Oglander was a merchant for many years, born into a family of clothiers in 1930. He entered his father’s business along with his three brothers, and would continue in the clothing trade for his working life. While Oglander always gravitated towards the creative elements of the business––trimming a window, designing a billboard, creating advertisements for the local newspaper––he never thought of himself as an artist. In the early 1970s, on an antique-hunting trip to Dallas with his wife, he happened to see a woman latch-hooking a rug. Struck by the craft, he ordered a kit for himself to try, and subsequently embarked on a kind of self-imposed apprenticeship, spending years learning to hook using easily available kits from local craft stores, and later from the internet. He liked the focus required to follow the patterns with his stitching, and as he aged he found the demanding physicality of the hand work helped to stave off his arthritis. As he grew more comfortable with the process, his work became more ambitious, culminating in a giant oval rug, a gift for his mother-in-law, which was nearly eleven feet across and took over a year to finish. Nowadays, he latch-hooks every day, for several hours, at a table his family purchased specially for him to work at. After years of learning to execute the manufactured patterns, with their pre-cut yarn, instructions, and picture of the intended final product, something within him transformed, seemingly overnight, and he began hooking outside the lines. Abandoning the orchids, rainbows, horses, and sunsets common to the manufacturers’ catalogs, Oglander simply turned the pattern over and began making his own designs. Neither his wife, nor his son remember any particular reason for the sudden shift. The closest to an explanation Oglander himself offers is that he simply had some extra yarn lying around that he wanted to use. Oglander has now spent the last fifteen years continuing to create his own rugs, with an ever evolving complexity. In the twenty-four pieces exhibited here, his eye for color, composition, and texture is immediately clear, perhaps refined over his long career in the clothing industry. Equally evident is his skill with the latch-hook. In some pieces, he subtly varies the length of the fibers, or oscillates the density of their presence in the mesh backing. In others, he introduces pointillist bursts of color to disrupt or surround the dense, swirling geometries that form the backbone of most works. He’ll often search out vintage yarns from the hinterlands of the internet to achieve a particular effect. Some pieces suggest landscapes viewed from far above, with rivers or roads meandering through fields of greens and browns, while others are reminiscent of sacred runes or hieroglyphics, with an indeterminate but potent spiritual force. In all of them, a sense of joy in the process of creation and the uncovering of the new is palpable. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713232511197-PY68YG153L8B83ES2BLT/_BCX7544.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 9 1/2 x 11 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713363178850-DSD3NYRFO3UE9L55TP6F/_BCX7449.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 20 1/4 x 23 1/2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713362891439-EQVJZ96CJ9MQTMXTK436/_BCX7524.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 13 1/2 x 10 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713362825221-HG66UXBDMIHLEMFS4NK2/_BCX7489.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 21 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713363236362-SKKGVZ3N6VD1W0D8BL36/_BCX7504.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 14 1/2 x 10 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713363356320-5M7OLSPC97E1MQCP4Q7M/_BCX7474.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 25 3/4 x 12 3/4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713362849915-BY9BBN36D42VVM7TBF4S/_BCX7469.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 18 1/4 x 18 1/2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713363365906-HZKN7DOKL1XAXTZU56U0/_BCX7462.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 17 1/2 x 20 1/2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713556711635-5EVW2F3H28XQLJWP5VYT/_BCX7476.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 24 1/2 x 12 1/2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713556741667-2TMQNENVU3B3QZB259VR/_BCX7484.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 19 3/4 x 12 1/4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713556916858-2YUQ9K47VDRTZH21DZ5V/_BCX7517.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 14 1/2 x 10 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713556930489-6VAUI55NBJUN0ZYD9T78/_BCX7481.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 21 x 13 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713557234882-2T6WORQGRV0IM6FH96GV/_BCX7511.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 11 x 14 3/4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713557016203-5LGFJIKZT1PCRMMX0UFN/_BCX7446.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 29 3/4 x 12 1/2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713557268035-1512Y2K1N4P0ZIZXSE0X/_BCX7458.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 21 x 16 1/2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713557286487-DBUFBTUSVD9PJ17162VB/_BCX7501.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 14 1/2 x 10 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713557310602-06ST81HUT8GZUQE670M2/_BCX7554.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 14 1/2 x 11 1/4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713557371303-XYFK7DWGF354HWG1IG16/_BCX7537.jpg Exhibitions: Robert Oglander KY - Robert Oglander, "Untitled", mixed media, 9 1/4 x 11 1/2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715975508899-806Q1T6ZA5Q2I1SV40Y3/Robert+Oglander+Install-01.jpg Exhibitions: Robert Oglander KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715975527435-YTB5XNHX1U9BY35MTWM9/Robert+Oglander+Install-04.jpg Exhibitions: Robert Oglander KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715975542658-H6R5ONTV5HEX7FDHLQ66/Robert+Oglander+Install-05.jpg Exhibitions: Robert Oglander KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715975556822-49WFH48KL8LOAHQKS0LK/Robert+Oglander+Install-06.jpg Exhibitions: Robert Oglander KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715975700134-CH5CJ13ENK2AU9OVRFPH/Robert+Oglander+Install-07.jpeg Exhibitions: Robert Oglander KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715975572102-0Z0HC5SFVGBRYVYJA2LS/Robert+Oglander+Install-09.jpg Exhibitions: Robert Oglander KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715975587142-4WO3JOU53KMVCRQXGVEO/Robert+Oglander+Install-10.jpg Exhibitions: Robert Oglander KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715975603657-QT2F4QHY98WAS1EBU96X/Robert+Oglander+Install-08.jpg Exhibitions: Robert Oglander KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715975619288-4N3WPXVZE52H8PZIX1WE/Robert+Oglander+Install-11.jpg Exhibitions: Robert Oglander KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715975677385-9J40RA5BRC1NKHGD6R87/Robert+Oglander+Install-02.jpeg Exhibitions: Robert Oglander KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715975719231-YTDOZXJ33SWRABGNLZ0X/Robert+Oglander+Install-13.jpeg Exhibitions: Robert Oglander KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715975726929-WCJXO1KPW506QSNAETLC/Robert+Oglander+Install-12.jpeg Exhibitions: Robert Oglander KY - Installation view of Robert Oglander, "Busy Every Day", 2024. https://www.institute193.org/exhibitions-mary-smith daily 0.75 2024-05-17 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713543820384-41STPQ49EQE5OFCNP5TO/JSP_MTS_86.085.jpg Exhibitions: Mary T. Smith KY Mary T. Smith Mississippi Metal On Highway 51 April 19 – June 08, 2024 Mary Tillman Smith arrived in Hazlehurst, Mississippi shortly after the dissolution of her second marriage. She had promptly ended her first after just two months, when she discovered that her husband had been deceiving her. Smith's second was brought to a close by the boss of her sharecropping husband, who didn’t appreciate her exceptionally precise record keeping. When Smith confronted the boss, revealing that her husband had been paid a mere 1.5% of what he should have received for the year’s labor, the husband was given the choice between his job and his wife. He chose the job. Freed from unpalatable domestic arrangements, Smith moved to Hazlehurst, the largest town in the region, then home to around 3,000 people. There, she had a son, and the boy’s father built her a house in which to raise him. Understandably, given her life experience, she chose not to marry the father. Smith’s house sat on an acre of land overlooking Highway 51, the busiest road in Hazlehurst and the primary north-south artery between New Orleans and the industrial centers of the upper midwest in the years prior to the construction of the Interstate system. Nearby was a junkyard, from which Smith began dragging home a plethora of discarded corrugated tin. Using an ax to split the metal into strips, she then whitewashed them and wove them into a fence, creating a structure which both demarcated and brought attention to her space. The fence, along with numerous other structures Smith built around her house and land, gradually became home to her paintings. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713543820384-41STPQ49EQE5OFCNP5TO/JSP_MTS_86.085.jpg Exhibitions: Mary T. Smith KY Mary T. Smith Mississippi Metal On Highway 51 April 19 – June 08, 2024 Mary Tillman Smith arrived in Hazlehurst, Mississippi shortly after the dissolution of her second marriage. She had promptly ended her first after just two months, when she discovered that her husband had been deceiving her. Smith's second was brought to a close by the boss of her sharecropping husband, who didn’t appreciate her exceptionally precise record keeping. When Smith confronted the boss, revealing that her husband had been paid a mere 1.5% of what he should have received for the year’s labor, the husband was given the choice between his job and his wife. He chose the job. Freed from unpalatable domestic arrangements, Smith moved to Hazlehurst, the largest town in the region, then home to around 3,000 people. There, she had a son, and the boy’s father built her a house in which to raise him. Understandably, given her life experience, she chose not to marry the father. Smith’s house sat on an acre of land overlooking Highway 51, the busiest road in Hazlehurst and the primary north-south artery between New Orleans and the industrial centers of the upper midwest in the years prior to the construction of the Interstate system. Nearby was a junkyard, from which Smith began dragging home a plethora of discarded corrugated tin. Using an ax to split the metal into strips, she then whitewashed them and wove them into a fence, creating a structure which both demarcated and brought attention to her space. The fence, along with numerous other structures Smith built around her house and land, gradually became home to her paintings. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713556290096-C04ONHKY2M35M3Z0SVSF/smith-mary-t-12__PadWzc4OCw1MjUsIkZGRkZGRiIsMF0.jpg Exhibitions: Mary T. Smith KY - Perspective from street of Mary T. Smith’s home in Hazlehurst, Mississippi. Image captured by Willem Volkersz. Mississippi Metal On Highway 51 presents a collection of Mary T. Smith’s earliest paintings, completed in the 1970s and early ‘80s. They take for a canvas those same hand cut sheets of tin that she used for building material. Bold portraits in black, red, and green float on a stark white background. The work from this period is often coupled with slogans or phrases, with varying degrees of legibility, which function as devotionals, admonishments, questions, or cryptic self reminders. Smith was a devout believer, and many of her portraits were depictions of Christ or other religious figures, marking the long history of Christian iconography as an obvious influence. Her house also sat within eyesight of two large billboards along the highway, and one could easily draw a line between the language of advertising Smith saw constantly – a striking image paired with a succinct phrase, calibrated to wedge an idea into the mind of the viewer – and the language she began to develop in these paintings. The ideas that Smith wished to communicate are simple and powerful. They stretch deep into the past, yet remain immediately recognizable and utterly of our time. Work which so powerfully calls to mind both cave paintings––perhaps our earliest examples of fine art––and the ultra-contemporary pervasiveness of the selfie must truly have tapped into a certain universality of experience. Smith’s paintings celebrate the essences of human life: profound spirituality, and joy in the face of hardship. An undeniable eye for shape and color coupled with her determination to be free and to express that freedom left a lifetime’s worth of monuments to presence, both her own and a collective presence extending outwards from that home in Hazlehurst to include her friends, community, and ultimately all of us who gaze upon her work. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713565077135-7Y85BQUZVI7TWRIAZZNA/_BCX8046.jpg Exhibitions: Mary T. Smith KY - Mary T. Smith, "Untitled", paint on corrugated tin, 52 1/2 x 26 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713647412985-3G50TL0DZ1DK30YSCCU8/_BCX8015.jpg Exhibitions: Mary T. Smith KY - Mary T. Smith, "Untitled", paint on corrugated tin, 72 1/2 x 32 1/2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713555658389-9RYDGJN4P93EEAPEFZJ3/_BCX8037.jpg Exhibitions: Mary T. Smith KY - Mary T. Smith, "Untitled", paint on corrugated tin, 52 x 27 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713555290894-OI4ERAFYTU49D9MT0NW5/_BCX8033.jpg Exhibitions: Mary T. Smith KY - Mary T. Smith, "Untitled", paint on corrugated tin, 53 x 27 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713555306656-3VJJHZE5L6GXSZXSUCC2/_BCX8026.jpg Exhibitions: Mary T. Smith KY - Mary T. Smith, "Untitled", paint on corrugated tin, 65 x 34 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713555280693-VIJQ65BY6MOAT99WELOT/_BCX8040.jpg Exhibitions: Mary T. Smith KY - Mary T. Smith, "Untitled", paint on corrugated tin, 38 x 27 3/4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713555897422-4PX9P9FKXVAH8U6IPRDT/_BCX8060.jpg Exhibitions: Mary T. Smith KY - Mary T. Smith, "Untitled", paint on corrugated tin, 25 x 26 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713555259057-ZJS8FQMO8M8BBQWIL6XO/_BCX8056.jpg Exhibitions: Mary T. Smith KY - Mary T. Smith, "Untitled", paint on corrugated tin, 27 x 26 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713555997608-3U3RH39C8NMELF4B8FNH/_BCX8052.jpg Exhibitions: Mary T. Smith KY - Mary T. Smith, "Untitled", paint on corrugated tin, 30 x 26 1/2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713556069492-FI0L7LTCXALWGJ5I80PW/_BCX8058.jpg Exhibitions: Mary T. Smith KY - Mary T. Smith, "Untitled", paint on corrugated tin, 27 x 26 1/2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713556138480-PWPKXVET7YRBJG8YH6XS/_BCX8065.jpg Exhibitions: Mary T. Smith KY - Mary T. Smith, "Untitled", paint on corrugated tin, 26 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713555269554-UFN65VHCB4WSNXB1PEOR/_BCX8048.jpg Exhibitions: Mary T. Smith KY - Mary T. Smith, "Untitled", paint on corrugated tin, 49 x 17 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1713232153208-IU364YQT5T2RG2P4N2V5/MTS1.jpg Exhibitions: Mary T. Smith KY - Image of Mary T. Smith in the yard of her home in Hazlehurst, Mississippi. Image by George Snyder. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715971831597-8G2DJGJWP9SFOLV8KG9H/image-asset.jpeg Exhibitions: Mary T. Smith KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715972320404-LU3YYQMEUNC0FK73ZU8Y/Mary+T.+Smith+Install+%28brightened%29-02.jpeg Exhibitions: Mary T. Smith KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715972358460-VB6C3LOTTT0RNMY2ZGB0/Mary+T.+Smith+Install+%28brightened%29-04.jpg Exhibitions: Mary T. Smith KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715972378489-345QBNLX75X5K1I72TGD/Mary+T.+Smith+Install+%28brightened%29-06.jpg Exhibitions: Mary T. Smith KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715972399586-JMO2OI4775IAYHNMBL1L/Mary+T.+Smith+Install+%28brightened%29-07.jpg Exhibitions: Mary T. Smith KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715972546648-LM2P7NFD5WRKJVW4325H/Mary+T.+Smith+Install+%28brightened%29-08.jpeg Exhibitions: Mary T. Smith KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715972675579-FSEKAPC4QLM5AXPF9FRZ/Mary+T.+Smith+Install+%28brightened%29-10.jpeg Exhibitions: Mary T. Smith KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715972722853-JI6DKZXA75DBAST77TPB/Mary+T.+Smith+Install+%28brightened%29-14.jpg Exhibitions: Mary T. Smith KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715972744769-7JQ7NTSJVZ4UIRTOYD1V/Mary+T.+Smith+Install+%28brightened%29-11.jpg Exhibitions: Mary T. Smith KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715972760895-BJEHPEVST5YVRKPJFF97/Mary+T.+Smith+Install+%28brightened%29-12.jpg Exhibitions: Mary T. Smith KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715972777828-57F7O70G8AD8Q7IGOXL9/Mary+T.+Smith+Install+%28brightened%29-13.jpg Exhibitions: Mary T. Smith KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715972796158-P47N50LL9J5ZKX2BCSXI/Mary+T.+Smith+Install+%28brightened%29-09.jpg Exhibitions: Mary T. Smith KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1715972811061-Z6ANQ4CT0EA2MH27245U/Mary+T.+Smith+Install+%28brightened%29-15.jpg Exhibitions: Mary T. Smith KY - Installation view of Mary T. Smith, "Mississippi Metal On Highway 51", 2024. https://www.institute193.org/exhibitions-sam-linguist daily 0.75 2024-08-06 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814330827-O8Q7DS62POH34T72U5M6/image-asset.jpeg Exhibitions: Sam Linguist KY - Detail of Sam Linguist, no migraines today, 2023, underglazed stoneware, 9 x 10½ x 3½ inches. Sam Linguist Italy, Texas June 14 – July 27, 2024 There’s an old saying in Texas: “If you don’t like the weather, wait five minutes.” This adage about Texas’s mercurial nature – the big skies and endless horizon that bring all manner of pressurized and sudden combinations of heat or cold or rain or drought or wind – is a hopeful reassurance when speaking to non-natives, who unfailingly complain about the weather. And like most regional adages, this description of Texan meteorology is also a metaphor for its mythology. While weird things happen everywhere, Texas’s stereotypes are so sunbaked into the American psyche that when one encounters a particularly cinematic scene there – a cowboy on horseback inside a Target supercenter; a gas station pumping Tejano music through an amped sound system, while longhorn cattle and burros roam the grass; a man in a camouflage jacket, smoking cigarettes with the windows rolled up in his truck, which bears the bumper sticker ‘I ♥️ being naked,’ (true stories) – it’s hard to question the state’s irascible rap. The work of Texan artist Sam Linguist hovers in this windy landscape of threatening weather and charming local eccentricity. In fact, his ceramic paintings look windblown. The rectangular, square or crescent forms are slightly skewed, as if torqued by the bipolar currents of a tornado and then thrown, only to be discovered later, lodged in the dirt, yards away from where they started. And like something archaeologically found, the images on the surface of these works are a random cohort of both abstract and representational things, sometimes painted in spare, loose strokes and other times clearly indicating some reality, like the artist’s driver’s license. Also like something unearthed, Linguist’s sculptural paintings are marked on all sides. Often the glaze has leaked from the painting’s flat surface onto the deep sides of the object, which is meant to look like an inverted casserole dish, and then baked there, memorializing an errant stream of pigment. Sometimes he dry brushes the sides just a little, making them look a bit used and forlorn, like the dish that has migrated from neighbor to neighbor. Other times, he paints wobbly stripes or dabs the sides with hazy bloops of color, like a scene out the window of a fast car. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814330827-O8Q7DS62POH34T72U5M6/image-asset.jpeg Exhibitions: Sam Linguist KY - Detail of Sam Linguist, no migraines today, 2023, underglazed stoneware, 9 x 10½ x 3½ inches. Sam Linguist Italy, Texas June 14 – July 27, 2024 There’s an old saying in Texas: “If you don’t like the weather, wait five minutes.” This adage about Texas’s mercurial nature – the big skies and endless horizon that bring all manner of pressurized and sudden combinations of heat or cold or rain or drought or wind – is a hopeful reassurance when speaking to non-natives, who unfailingly complain about the weather. And like most regional adages, this description of Texan meteorology is also a metaphor for its mythology. While weird things happen everywhere, Texas’s stereotypes are so sunbaked into the American psyche that when one encounters a particularly cinematic scene there – a cowboy on horseback inside a Target supercenter; a gas station pumping Tejano music through an amped sound system, while longhorn cattle and burros roam the grass; a man in a camouflage jacket, smoking cigarettes with the windows rolled up in his truck, which bears the bumper sticker ‘I ♥️ being naked,’ (true stories) – it’s hard to question the state’s irascible rap. The work of Texan artist Sam Linguist hovers in this windy landscape of threatening weather and charming local eccentricity. In fact, his ceramic paintings look windblown. The rectangular, square or crescent forms are slightly skewed, as if torqued by the bipolar currents of a tornado and then thrown, only to be discovered later, lodged in the dirt, yards away from where they started. And like something archaeologically found, the images on the surface of these works are a random cohort of both abstract and representational things, sometimes painted in spare, loose strokes and other times clearly indicating some reality, like the artist’s driver’s license. Also like something unearthed, Linguist’s sculptural paintings are marked on all sides. Often the glaze has leaked from the painting’s flat surface onto the deep sides of the object, which is meant to look like an inverted casserole dish, and then baked there, memorializing an errant stream of pigment. Sometimes he dry brushes the sides just a little, making them look a bit used and forlorn, like the dish that has migrated from neighbor to neighbor. Other times, he paints wobbly stripes or dabs the sides with hazy bloops of color, like a scene out the window of a fast car. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718816735646-LN6VQL4KXCP8CL1HGOBW/Sam%2BLinguist%2Bplates%2Bedited-02.jpg Exhibitions: Sam Linguist KY - Sam Linguist, untitled, 2024, Underglazed stoneware, 3 x 10 1⁄2 x 1 7⁄8 inches The backs of the paintings are not excluded from the artist’s mark. Linguist often scrawls out the name of the work there – ‘the trees look like skeletons in the winter,’ ‘our town or Akhenaten’ are some gems – as well as his own signature, perhaps embracing the random gift of having a name meaning ‘adept at language.’ He’s also reminding us that these works are ceramic, and so his name serves as a potter’s backstamp on the bottom of a piece, aiding some future archeologist by indicating the work’s maker. Like a dish or a cup, if you discover it, these are paintings to be picked up. Lately, Linguist has deployed a series of crudely-welded metal armatures – reminiscent of antiquated moon towers used to light public spaces from the late 19th century into the mid-20th – to hold some of his paintings at jutting angles away from the wall, allowing people to see the backstamp and titles that would otherwise be hidden if the works were hung on the wall. One feels an imminent sense of danger and responsibility around these fragile pieces, which precariously dangle on small metal pegs at the end of the skeletal structures. Bodies move more slowly and with greater care around these delicate objects, so as not to jostle them, because every body is its own place, and each makes its own weather. - Lucia Arbery Simek https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814614175-AVD62PHJNKH4246DZDJD/Sam+Linguist+plates+edited-03.jpg Exhibitions: Sam Linguist KY - Sam Linguist, "Algerian wisdom", 2023, underglazed stoneware, 4 x 4 1⁄4 x 3 3⁄8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814628456-M8XE0I58M071VU5L81IN/Sam+Linguist+plates+edited-14.jpg Exhibitions: Sam Linguist KY - Sam Linguist, "my mom cried when I shaved my head", 2023, Underglazed stoneware, 10 1⁄4 x 11 1⁄2 x 3 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814628583-I7BIHP35YMV3JS9UKDW7/Sam+Linguist+plates+edited-13.jpg Exhibitions: Sam Linguist KY - Sam Linguist, "where my dream house used to be (ode to Kawakami Shiro)", 2024, Underglazed stoneware, 7 3⁄4 x 9 3⁄4 x 2 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814624836-WHNNQAUQP4V9QK00VBRG/Sam+Linguist+plates+edited-12.jpg Exhibitions: Sam Linguist KY - Sam Linguist, "the trees look like skeletons in the winter", 2023, Underglazed stoneware, 8 7⁄8 x 10 1⁄4 x 3 1⁄4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814614757-3CNXGCA9CSQ06MSD5H49/Sam+Linguist+plates+edited-04.jpg Exhibitions: Sam Linguist KY - Sam Linguist, "italy, texas", 2024, Underglazed and glazed stoneware, 12 1⁄2 x 14 1⁄4 x 3 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814624594-Q1K8ME4Q82MVH9B34W9M/Sam+Linguist+plates+edited-11.jpg Exhibitions: Sam Linguist KY - Sam Linguist, untitled, 2024, Underglazed and glazed stoneware, 5 5⁄8 x 6 x 2 1⁄4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814622345-5RSGWZG2AGGRGW5YIUAF/Sam+Linguist+plates+edited-10.jpg Exhibitions: Sam Linguist KY - Sam Linguist, untitled, 2024, Underglazed and glazed stoneware, 1 1⁄4 x 2 5⁄8 x 2 3⁄8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814618015-FR1QA543UGRCK5IJ8G8U/Sam+Linguist+plates+edited-06.jpg Exhibitions: Sam Linguist KY - Sam Linguist, "M.Y.I.D.", 2022-2023, Underglazed stoneware, 12 1⁄4 x 13 1⁄4 x 3 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814619954-1EZF5H7YCUK1VQ5Y6MCY/Sam+Linguist+plates+edited-07.jpg Exhibitions: Sam Linguist KY - Sam Linguist, "the times I wished that I lived somewhere in Iowa", 2024, Underglazed stoneware, 4 1⁄4 x 4 5⁄8 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814620642-N06I5LHC6YLX38QZBVFK/Sam+Linguist+plates+edited-08.jpg Exhibitions: Sam Linguist KY - Sam Linguist, "occasional pond", 2023, Underglazed and glazed stoneware, 5 1⁄2 x 10 1⁄2 x 2 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814622199-EK2JBYIPRZ3LJFF9L88L/Sam+Linguist+plates+edited-09.jpg Exhibitions: Sam Linguist KY - Sam Linguist, "keg stand", 2024, Underglazed and glazed stoneware, 8 3⁄4 x 7 5⁄8 x 3 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814612180-TIAROEPV6SWIG5G7LRE5/Sam+Linguist+plates+edited-01.jpg Exhibitions: Sam Linguist KY - Sam Linguist, "Our Town or Ahkenaten", 2024, Underglazed stoneware, 13 3⁄8 x 13 1⁄4 x 3 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718814617774-LVG4VG1RIM6ESXWAG383/Sam+Linguist+plates+edited-05.jpg Exhibitions: Sam Linguist KY - Sam Linguist, "no migraines today", 2023, Underglazed stoneware, 9 x 10 1⁄2 x 3 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998438272-GD9ULGB88S5EXKPX27PK/Sam+Linguist+install-01.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998438386-N4LQHV68HYBYTO0IQ8DG/Sam+Linguist+install-02.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998439800-1Z2BRXZXQK5UGO80GLJU/Sam+Linguist+install-03.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998439966-4ZTS429HKSWGFVN1OQ03/Sam+Linguist+install-04.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998441347-7J3FJ7RQZLIH78YVSKDU/Sam+Linguist+install-05.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998441590-ZWTCV8XYGK4JR72352VR/Sam+Linguist+install-06.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998443137-7UYXKWLG62SP78RN6NL7/Sam+Linguist+install-07.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998443088-HQXV01785ZLN4NU33KV2/Sam+Linguist+install-08.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998444990-UASXS8I06EY7YFK8R1DY/Sam+Linguist+install-09.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998445002-T1AWC2SOGALJAN4LW073/Sam+Linguist+install-10.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998447091-HAKDVEPW334GW5AZNUU6/Sam+Linguist+install-11.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998447109-DMMLLR3ELXG9A7Z856UX/Sam+Linguist+install-12.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998448650-Z1F9J38I9LUQ7NHVITFG/Sam+Linguist+install-14.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998450353-MV3M6PJ5GBPEPNXTVFZT/Sam+Linguist+install-15.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998450786-44FS8QSDRTWBP9O7MKKD/Sam+Linguist+install-16.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998451534-XQSF7SRLYY30C0YZLOIP/Sam+Linguist+install-17.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998452548-O83W097AKGY7VEHNUBZF/Sam+Linguist+install-18.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998452943-8SBQWSJ34GTHU4L1VUH2/Sam+Linguist+install-19.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998453891-8WK7ZLKUGM75D0EI01CI/Sam+Linguist+install-20.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998454757-S0OSIW22X6OX3HT72TR5/Sam+Linguist+install-21.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998455347-Z40NFDVDSZM3Y1XKXNDO/Sam+Linguist+install-22.jpg Exhibitions: Sam Linguist KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998456334-319SS173224SXIULUU6B/Sam+Linguist+install-23.jpg Exhibitions: Sam Linguist KY - Installation views of Sam Linguist, "Italy, Texas, 2024. https://www.institute193.org/exhibitions-megan-bickel daily 0.75 2024-08-06 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718831891468-L5KLVSLOZSO8DW7KY127/Toolmaking_mb.jpg Exhibitions: Megan Bickel KY - Detail of Megan Bickel, "“Toolmaking is of little consequence unless it is coupled with great cooperation from others.”", 2024. Megan Bickel Orgonon June 14 – July 27, 2024 Psychoanalyst Wilhelm Reich arrived in New York in 1939, after several tumultuous decades in Europe spent surviving a brutally repressive childhood, fighting in the first world war, studying under Sigmund Freud, being kicked out of the Communist Parties of Austria, Germany, and Denmark for his radical views on sex, and weathering public disgrace in Norway after he claimed to have documented the spontaneous generation of a primitive form of microscopic life. While his reputation as a political and social theorist would, largely unbeknownst to him, continue to grow in the European political underground, in America he would begin his work on the orgone, a life force energy he claimed to have discovered flowing through all living things, and the machinery to manipulate it which would become his most public legacy — the “orgone accumulator” boxes and a weather-controlling energy cannon he called a “cloudbuster”. Decamping to Maine, Reich would carry out his remaining life’s research on the farm he called Orgonon. In 1976, the musician Kate Bush was perusing Watkins Books, an occult bookstore she frequented in London, when a copy of a memoir by Reich’s son Peter, Book of Dreams, called out to her. In the book, Peter sorts through the memories of life at Orgonon, especially the period of the mid-1950s leading up to his father’s imprisonment and death after a legal battle with the FDA. Over the years, Wilhelm had developed a manic theory that environmental and social problems worldwide were being exacerbated by alien invaders, who sprayed sickening clouds of “deadly orgone radiation” out of UFOs crisscrossing the globe. So Peter’s youth was spent traveling the country with his father, using the accumulators and the cloudbusters in attempts to protect or heal individuals and landscapes, or even to shoot the offending UFOs out of the sky. Bush’s experience with the book led to the song Cloudbusting, off the landmark 1985 album Hounds of Love. She was attracted to the way Peter’s innocent, intense longing for his jailed father, and the trauma of his loss, blurred the chronology of his childhood memories in a way that sidelined the bizarreness of his father’s research. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718831891468-L5KLVSLOZSO8DW7KY127/Toolmaking_mb.jpg Exhibitions: Megan Bickel KY - Detail of Megan Bickel, "“Toolmaking is of little consequence unless it is coupled with great cooperation from others.”", 2024. Megan Bickel Orgonon June 14 – July 27, 2024 Psychoanalyst Wilhelm Reich arrived in New York in 1939, after several tumultuous decades in Europe spent surviving a brutally repressive childhood, fighting in the first world war, studying under Sigmund Freud, being kicked out of the Communist Parties of Austria, Germany, and Denmark for his radical views on sex, and weathering public disgrace in Norway after he claimed to have documented the spontaneous generation of a primitive form of microscopic life. While his reputation as a political and social theorist would, largely unbeknownst to him, continue to grow in the European political underground, in America he would begin his work on the orgone, a life force energy he claimed to have discovered flowing through all living things, and the machinery to manipulate it which would become his most public legacy — the “orgone accumulator” boxes and a weather-controlling energy cannon he called a “cloudbuster”. Decamping to Maine, Reich would carry out his remaining life’s research on the farm he called Orgonon. In 1976, the musician Kate Bush was perusing Watkins Books, an occult bookstore she frequented in London, when a copy of a memoir by Reich’s son Peter, Book of Dreams, called out to her. In the book, Peter sorts through the memories of life at Orgonon, especially the period of the mid-1950s leading up to his father’s imprisonment and death after a legal battle with the FDA. Over the years, Wilhelm had developed a manic theory that environmental and social problems worldwide were being exacerbated by alien invaders, who sprayed sickening clouds of “deadly orgone radiation” out of UFOs crisscrossing the globe. So Peter’s youth was spent traveling the country with his father, using the accumulators and the cloudbusters in attempts to protect or heal individuals and landscapes, or even to shoot the offending UFOs out of the sky. Bush’s experience with the book led to the song Cloudbusting, off the landmark 1985 album Hounds of Love. She was attracted to the way Peter’s innocent, intense longing for his jailed father, and the trauma of his loss, blurred the chronology of his childhood memories in a way that sidelined the bizarreness of his father’s research. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718833025147-3GEKXKKB4RUW6I0MLZXW/Megan%252BBickel%252BPlates%252BEdited-11.jpg Exhibitions: Megan Bickel KY - Megan Bickel, "“Once I saw a war comic and the guns went budda budda budda and wham. My rifle was actually more like krang.”", 2024, Acrylic on inkjet print on canvas, 30 ¾ x 38 ¼ X 1 ½ inches Firmly situated in this nexus of the incredible and the banal are the paintings of Megan Bickel. Layers upon layers of paint, digital prints, cement, natural landscapes, pencil, cutting-edge textiles, photographic representations, and virtual reality experiments combine to produce a depth so extensive it begins to appear irremediably flat. It’s hard to escape the thought that with just a bit closer of a look, just a bit longer tracing the marks on the canvas, you’ll break through to the truth buried under the artifice. But that resolution is constantly interrupted. A thick dollop of neon paint calls to mind the topographical renderings of satellite data, until you realize that the background it’s situated upon is a receding plane of magnified grass—or is it the printed fabric of a military uniform? The process of delineating the haptic and the illusory, the digital and material, friend and foe, nourishment and poison, savior and threat, all feels at once joyfully seductive to begin and menacingly impossible to complete. Unknowable experiences are thrust upon each of us all the time, and the only path forward is to sort through them as best we can. The strong hand of a trusted guide can render the unimaginable coherent, but the loss of such a guiding force can make the everyday unbearably inscrutable. As poorly understood algorithms continue to worm their way through the fabric of the institutions and apparatuses governing our lives, as the earth’s natural rhythms seem to oscillate more wildly with each passing day, as any reasonable expectation of political problem solving seems more and more doubtful, who amongst us has not felt those same nervous urges that call into question every facet of your reality? Who amongst us has not wished for a guide to lead us through? The political, social, and environmental futures on offer for us and our world are more and more defined by a discursive openness that is nonetheless experienced as an essential lack of positive, materially grounded visions for change. The paintings on offer in Orgonon are a chance to work through this paradoxical position. They do not allow us to retreat into fantasy through false simplification, nor do they offer misleading promises about a fantastical one true path just waiting to be discovered. Through play and rigorous attention combined, they help us delve into the maze of the real. He looked at me hard. “You are a good little soldier, Peeps. You are very brave, and you must be strong for the battle that may come.” He looked at me very hard and his eyes made mine water. “All right, son.” Nodding at the cloudbuster and looking to the mountains, he gave the gentle order, “Now, catch the wind.” -Peter Reich, Book of Dreams https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718831329718-OZLKW6QLVD6TRKNO86EM/Megan+Bickel+Plates+Edited-09.jpg Exhibitions: Megan Bickel KY Megan Bickel, "“The moment carried itself. Even the most seasoned star tramp can’t help but shiver at the spectacular drama of a sunrise seen from space.”", 2024, Acrylic and graphite on inkjet print on canvas, 18 ¼ x 15 ¾ x 1 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718831148263-YKI2WZA2Z3XEWWDNN87H/Megan+Bickel+Plates+Edited-08.jpg Exhibitions: Megan Bickel KY Megan Bickel, "“I write because I cannot paint.”", 2024, Acrylic on inkjet print on canvas, 16 ¼ x 21 ¼ x 1 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718831147173-QQJQHBB12EDIERXXVMV7/Megan+Bickel+Plates+Edited-07.jpg Exhibitions: Megan Bickel KY Megan Bickel, "“Toolmaking is of little consequence unless it is coupled with great cooperation from others.”", 2024, Acrylic and Oil paint, hydraulic cement, on inkjet print on canvas mounted on hardboard, 10 x 13 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718831143992-0VHINLFQQI7VDHIA136N/Megan+Bickel+Plates+Edited-06.jpg Exhibitions: Megan Bickel KY Megan Bickel, “Fishbrain, what do you think about, when your kitchen’s on fire.”, 2024, Graphite, Micacious Iron Oxide on inkjet print on canvas mounted on hardboard, 18 ¼ x 13 ½ x 1 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718833162274-6OCF5OFHFMXRU0T02SA6/Megan%2BBickel%2BPlates%2BEdited-05.jpg Exhibitions: Megan Bickel KY Megan Bickel, "“Open, shut, click, aim. And the people out to get Daddy. Krang.”", 2024, Acrylic on inkjet print on canvas, 29 ½ x 21 ¼ x 1 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718832012939-EZ65KHMXNNWCQH5LVWWI/Megan+Bickel+Plates+Edited-04.jpg Exhibitions: Megan Bickel KY Megan Bickel, "“The main thing is that it is an empathetic response to violence.”", 2023, Inkjet print on transparency sheet on stretched holographic cellophane, 10 x 8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718832156036-I4VJWPI1D5A26EIFU7AE/Megan%2BBickel%2BPlates%2BEdited-04.jpg Exhibitions: Megan Bickel KY Megan Bickel, "“I’ve followed you as far as I can. To this ribbon of silver plastic, fluttering from a tree: innards of a tape you gave me: madrigals, etc., I threw it out the window last winter, at night, when the bone stars were rising in the trees.”", 2023, Holographic cellophane on inkjet print on canvas, acrylic paint, 10 x 8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718831141189-YU36RJS6SACHNEOLAS93/Megan+Bickel+Plates+Edited-03.jpg Exhibitions: Megan Bickel KY Megan Bickel, "“I took my shirt off in the yard; no one saw that my skin on my shoulders was golden. Now it’s not, my shirt’s back on. I forgot my songs; the Glow is gone.”", 2024, Acrylic and Oil paint, hydraulic cement, on inkjet print on canvas mounted on hardboard, 9 ½ x 12 x 1 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718833201502-JJJQ457G7ZJ7115T2I3Z/Megan%2BBickel%2BPlates%2BEdited-02.jpg Exhibitions: Megan Bickel KY Megan Bickel, "“Orgonon.”", 2024, Acrylic on inkjet print on canvas, 42 ¼ x 32 x 1 ½ https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718833267628-9LTZ518RGVSSDQBIWVMU/Megan%2BBickel%2BPlates%2BEdited-01.jpg Exhibitions: Megan Bickel KY Megan Bickel, "Gravity wells/-/In this system, planets are not solids. Space is solid, and planets are holes.", 2024, Acrylic on inkjet print on canvas, 21 ¾ x 16 ½ x 1 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718831150911-JO6C3HI6V205WLCUKA0T/Megan+Bickel+Plates+Edited-10.jpg Exhibitions: Megan Bickel KY Megan Bickel, "I dream in HTML. The page shifts, doubles over, multiplies, and vanishes. I think about writing in the ruled margins of my notebook, leaving the page blank as the centers of Hildegard’s mandalas.", 2023, Graphite, Micacious Iron Oxide on inkjet print on canvas mounted on hardboard, 13 x 10 ¼ x 1 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998706727-RKT7LVV526A5APMW5LNZ/Megan+Bickel+install-1.jpg Exhibitions: Megan Bickel KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998706702-T7LYE86LDEGCM4YQC5D9/Megan+Bickel+install-2.jpg Exhibitions: Megan Bickel KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998708800-1T8J6CKCIDR63NCET0AE/Megan+Bickel+install-3.jpg Exhibitions: Megan Bickel KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998708877-LIY9HHHU5CSO5X4SNF67/Megan+Bickel+install-4.jpg Exhibitions: Megan Bickel KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998710815-JX7635N9Y4A22KUANPAC/Megan+Bickel+install-5.jpg Exhibitions: Megan Bickel KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998710973-E2AMM30AKDP6Q9ZZDABS/Megan+Bickel+install-6.jpg Exhibitions: Megan Bickel KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998712910-C5TN7CHB68A7FBAA7LIQ/Megan+Bickel+install-7.jpg Exhibitions: Megan Bickel KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998712770-ANFU5JELRPPQDQZX7N2R/Megan+Bickel+install-8.jpg Exhibitions: Megan Bickel KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1718998714229-XEKIAXIMLJRB90HMKFD2/Megan+Bickel+install-9.jpg Exhibitions: Megan Bickel KY - Installation views of Megan Bickle, "Orgonon", 2024. https://www.institute193.org/events daily 0.75 2026-03-30 https://www.institute193.org/events/2026/4/16/l2jlt7tjkmhbwpl20xm6p6fm4dr21v 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https://www.institute193.org/events/2026/3/13/opening-reception-greg-reynolds-double-life monthly 0.5 2026-03-06 https://www.institute193.org/events/2026/2/20/old-pup-and-ed-sunspot monthly 0.5 2026-02-10 https://www.institute193.org/events/2026/2/28/cook-off-soups-stews-and-one-pot-meals monthly 0.5 2026-01-29 https://www.institute193.org/events/2026/1/25/still-life-club monthly 0.5 2026-02-05 https://www.institute193.org/events/2026/1/15/193-shop-reopening-ezekiel-robinson monthly 0.5 2026-01-10 https://www.institute193.org/events/2026/1/15/opening-reception-frkos-waymin monthly 0.5 2026-01-07 https://www.institute193.org/events/2025/12/11/ornament-exchange monthly 0.5 2025-11-28 https://www.institute193.org/events/2025/11/23/still-life-club monthly 0.5 2025-11-20 https://www.institute193.org/events/2025/11/12/curtis-godino-presents-the-magicians-trick monthly 0.5 2025-11-12 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https://www.institute193.org/events/2025/5/18/film-screening-george-dureau-new-orleans-artist monthly 0.5 2025-04-23 https://www.institute193.org/events/2025/4/22/artist-talk-jackson-markovics-supernature monthly 0.5 2025-04-23 https://www.institute193.org/events/2025/4/17/summer-supper monthly 0.5 2025-05-06 https://www.institute193.org/events/2025/4/19/poetry-reading monthly 0.5 2025-04-16 https://www.institute193.org/events/2025/4/16/panel-discussion monthly 0.5 2025-05-13 https://www.institute193.org/events/2025/4/18/opening-reception-jackson-markovics-supernature monthly 0.5 2025-04-09 https://www.institute193.org/events/2025/4/13/scy1e-and-horaflora-w-forest-kelley-and-ed-sunspot monthly 0.5 2025-04-08 https://www.institute193.org/events/2025/4/12/artist-talk-with-mara-korol monthly 0.5 2025-04-03 https://www.institute193.org/events/2025/3/25/book-release-and-roundtable-discussion monthly 0.5 2025-03-25 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2024-10-02 https://www.institute193.org/events/2024/7/14/artist-talk-with-megan-bickel monthly 0.5 2024-07-10 https://www.institute193.org/events/2024/7/17/richard-hell-at-institute-193 monthly 0.5 2024-07-10 https://www.institute193.org/exhibitions-case-mahan daily 0.75 2024-08-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1722825127964-T4OFVMLWIDC9Z1XQKL4R/DSCF4518.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 12 x 18 inches Case Mahan In The Round August 09 – September 14, 2024 215 N Limestone Lexington live and liminal, cardiac, beating the drum, waking to its forever changing self. The quiet of corn growing in fog, the chaos of weeds and teeth bare. Lined up for the marching band. Laying burnout skid marks. Lexington not imagined, not theorized. Like a soup pot rattling itself to boil, the images are hot to reveal, and warm to nourish. The artist breathing, cool, waiting, letting the picture come. The approximate fence and the synchronous birds. Nothing but imperfection wandering toward itself but also already complete. Skidding through the intersection. Not black, not white, but lines and bursts and fields of these, action out the frame, action in the frame. Where are you in this? You are welcome here. Put on your hat with both hands. –Whitney Baker Shot on a variety of mostly pocketable cameras over the course of 4 years, In The Round exhibits Mahan’s street and domestic photos in and adjacent to Lexington’s not so historic inner beltway, New Circle Road. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1722825127964-T4OFVMLWIDC9Z1XQKL4R/DSCF4518.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 12 x 18 inches Case Mahan In The Round August 09 – September 14, 2024 215 N Limestone Lexington live and liminal, cardiac, beating the drum, waking to its forever changing self. The quiet of corn growing in fog, the chaos of weeds and teeth bare. Lined up for the marching band. Laying burnout skid marks. Lexington not imagined, not theorized. Like a soup pot rattling itself to boil, the images are hot to reveal, and warm to nourish. The artist breathing, cool, waiting, letting the picture come. The approximate fence and the synchronous birds. Nothing but imperfection wandering toward itself but also already complete. Skidding through the intersection. Not black, not white, but lines and bursts and fields of these, action out the frame, action in the frame. Where are you in this? You are welcome here. Put on your hat with both hands. –Whitney Baker Shot on a variety of mostly pocketable cameras over the course of 4 years, In The Round exhibits Mahan’s street and domestic photos in and adjacent to Lexington’s not so historic inner beltway, New Circle Road. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749367806-TYJ9UYK2X6LMGWEC4VPG/1.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749370235-0Z05D3OCF2IR1GD3Q1YS/2.JPG Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749375488-IME84HB7V85YUGA97NTE/4.JPG Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749382216-HWKOU9LRU6E6R1SFS23J/5.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 12 x 18 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749386195-LT4QE1E8YTBZINE3I0PK/6.JPG Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749829287-SIUGARDSEV7LEIV5SIQL/7.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 12 x 8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749394743-BCI8KXUZ07I9DMFLLMGP/8.JPG Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749399630-CA2NG31W0UJC1KYVK9NX/9.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 12 x 8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749406707-5F63M43G4UESNU1PEGBM/10.JPG Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749414550-NB0CYG80BOST5KDVVNKY/11.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 18 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749415802-B5ZSL3N7MM3U0F6I7MCH/12.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749418335-XWSK5YEEBVRCV6O9EEUT/13.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749421444-1G0XC6R9MJFB5CZDX6YI/14.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749426551-4Z08Q0UXCZ44EI4O02NI/15.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 12 x 18 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749429266-QCE9TPNLVCWKS7Y6CO0A/16.JPG Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749433056-OR7LTASAD66ZK4A6MX4A/17.JPG Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 12 x 18 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749436809-Z1A7W1SQ23BN3AB6QPN0/18.JPG Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749442199-8MGCGFE75PUHNPLKW7Q4/19.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749445006-LLZT8TU47KSUQJ7OZ3CS/20.JPG Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749449828-TXVNPEY5KSXX084CDWV4/21.JPG Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 12 x 8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749450935-2EO7WOEGAXTZQBB8KCQ4/22.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749456298-0IJ7AJ91LFXZA9NRJA76/24.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749459932-F33AKJNMGNJ7FQIH41CS/25.JPG Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 18 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749466896-56BCFS1Y86FX04R1YV7K/26.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749468820-ADI4ZECAJDGN9I0EMLC4/27.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 8 x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749469539-WKS2RJ2S8TTUE6YYV4DU/28.jpg Exhibitions: Case Mahan KY - Case Mahan, Untitled, 2024, silver gelatin print, 12 x 8 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749917047-P0Z2KXV7YOSDG1UTQ7IQ/CM+Install-15.jpg Exhibitions: Case Mahan KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749916930-NWAV4K78Z8GNDHRX2ANN/CM+Install-16.jpg Exhibitions: Case Mahan KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749918709-UH1PVQD89N74J0V4M5BD/CM+Install-17.jpg Exhibitions: Case Mahan KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749919246-J33TGLGX4GBYEA1WFY8Z/CM+Install-18.jpg Exhibitions: Case Mahan KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749920191-34MARA7OY9RRKW7TE5VA/CM+Install-19.jpg Exhibitions: Case Mahan KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749920951-BR8859WUVUMR7P88DH19/CM+Install-20.jpg Exhibitions: Case Mahan KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749921679-DG1J3EV39FCH7GIXA6HL/CM+Install-21.jpg Exhibitions: Case Mahan KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749922395-91WY1JHFOHOUC1I3A4ZX/CM+Install-22.jpg Exhibitions: Case Mahan KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749923167-CQTV8TH93577284J4X1B/CM+Install-23.jpg Exhibitions: Case Mahan KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749923962-7YIS4N47RPP5IOCN5APT/CM+Install-24.jpg Exhibitions: Case Mahan KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749925129-WWWZ33J8X3X8P7A1NDD8/CM+Install-25.jpg Exhibitions: Case Mahan KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723749925827-T0NT8CTOUM72FI7RF10G/CM+Install-26.jpg Exhibitions: Case Mahan KY - Installation views of Case Mahan, "In The Round", 2024. https://www.institute193.org/exhibitions-feliciano-abaurre daily 0.75 2024-08-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723751328462-ZFXQIISWJEFJO68B3SAF/FA+plates-02.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 8⅞ x 8⅞ x 8⅞ inches. Feliciano Abaurre Faces In Earth August 09 – September 14, 2024 193 N Limestone On a hilltop just south of Dallas, Georgia, Feliciano Abaurre digs his clay. He lives there, surrounded by orchards, gardens, goats, sheep, pigs, chickens, rabbits, and an impeccably well managed vineyard of muscadines, the notoriously unruly grape native to the American Southeast. Beyond his talents behind the potter's wheel, Abaurre, born in Mendoza, Argentina to a family of vineyard workers, also spins those grapes into delightful vintages of muscadine wine, a far cry from the insipidly sweet examples of such wines now common to roadside stands and gas stations across the rural South. This combination of a skilled, technically rigorous traditional craft brought from a far-flung place and adjusted to the ecological realities of his home in the Georgia hills shares many commonalities with Abaurre’s approach to his ceramics. Initially, he learned the craft in Argentina, working as a production potter and learning various pre-columbian techniques from indigenous peoples in the area. When he moved to Georgia, he had to learn entirely new firing methods more appropriate to the hard red clay he could dig from his yard. Nearly all his materials come from the farm surrounding his home, or from neighbors and friends in the area. Pine needles and grape leaves make their way into the glazes in various forms, while a watertight finish might be achieved using beeswax from a friend’s hives. The pieces displayed here all maintain this link to the land and the natural world, while their visual elements radiate outwards into folk traditions from across the globe. One piece might craft the Georgia clay into the form of an indigenous American fertility goddess, with a finishing process pulled from 15th century Japan. Another might take a shape reminiscent of the face jugs made by enslaved Black potters along the Atlantic coast of the United States, but be glazed using a method Abaurre learned during his time in Patagonia. All maintain their presence as functional, useful objects for any household or farm, in addition to the beauty of their form and finish. These faces, all undeniably unique, speak to our reality as individuals shaped by history, yet capable of taking an active role in the universal unfolding of human cultures and experience, and in the relationship of that unfolding to the specificity of the places we find ourselves in – the plants that grow here, the rocks built up and worn down over eons, and all the faces that have passed through these landscapes before us. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723751328462-ZFXQIISWJEFJO68B3SAF/FA+plates-02.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 8⅞ x 8⅞ x 8⅞ inches. Feliciano Abaurre Faces In Earth August 09 – September 14, 2024 193 N Limestone On a hilltop just south of Dallas, Georgia, Feliciano Abaurre digs his clay. He lives there, surrounded by orchards, gardens, goats, sheep, pigs, chickens, rabbits, and an impeccably well managed vineyard of muscadines, the notoriously unruly grape native to the American Southeast. Beyond his talents behind the potter's wheel, Abaurre, born in Mendoza, Argentina to a family of vineyard workers, also spins those grapes into delightful vintages of muscadine wine, a far cry from the insipidly sweet examples of such wines now common to roadside stands and gas stations across the rural South. This combination of a skilled, technically rigorous traditional craft brought from a far-flung place and adjusted to the ecological realities of his home in the Georgia hills shares many commonalities with Abaurre’s approach to his ceramics. Initially, he learned the craft in Argentina, working as a production potter and learning various pre-columbian techniques from indigenous peoples in the area. When he moved to Georgia, he had to learn entirely new firing methods more appropriate to the hard red clay he could dig from his yard. Nearly all his materials come from the farm surrounding his home, or from neighbors and friends in the area. Pine needles and grape leaves make their way into the glazes in various forms, while a watertight finish might be achieved using beeswax from a friend’s hives. The pieces displayed here all maintain this link to the land and the natural world, while their visual elements radiate outwards into folk traditions from across the globe. One piece might craft the Georgia clay into the form of an indigenous American fertility goddess, with a finishing process pulled from 15th century Japan. Another might take a shape reminiscent of the face jugs made by enslaved Black potters along the Atlantic coast of the United States, but be glazed using a method Abaurre learned during his time in Patagonia. All maintain their presence as functional, useful objects for any household or farm, in addition to the beauty of their form and finish. These faces, all undeniably unique, speak to our reality as individuals shaped by history, yet capable of taking an active role in the universal unfolding of human cultures and experience, and in the relationship of that unfolding to the specificity of the places we find ourselves in – the plants that grow here, the rocks built up and worn down over eons, and all the faces that have passed through these landscapes before us. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723751340579-O4R1ZE4GNK2RIBHZ4E2T/FA+plates-03.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 12 ⅞ x 7 ⅜ x 7 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1722974091843-TMSABSHR0VSN3EN1NX1W/FA+promo-1.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, wood fired ceramic, quartz, 8⅞ x 8⅞ x 8⅞ inches. Feliciano Abaurre Faces In Earth August 09 – September 14, 2024 On a hilltop just south of Dallas, Georgia, Feliciano Abaurre digs his clay. He lives there, surrounded by orchards, gardens, goats, sheep, pigs, chickens, rabbits, and an impeccably well managed vineyard of muscadines, the notoriously unruly grape native to the American Southeast. Beyond his talents behind the potters’ wheel, Abaurre, born in Mendoza, Argentina to a family of vineyard workers, also spins those grapes into delightful vintages of muscadine wine, a far cry from the insipidly sweet examples of such wines now common to roadside stands and gas stations across the rural South. This combination of a skilled, technically rigorous traditional craft brought from a far-flung place and adjusted to the ecological realities of his home in the Georgia hills shares many commonalities with Abaurre’s approach to his ceramics. Initially, he learned the craft in Argentina, working as a production potter and learning various pre-columbian techniques from indigenous peoples in the area. When he moved to Georgia, he had to learn entirely new firing methods more appropriate to the hard red clay he could dig from his yard. Nearly all his materials come from the farm surrounding his home, or from neighbors and friends in the area. Pine needles and grape leaves make their way into the glazes in various forms, while a watertight finish might be achieved using beeswax from a friend’s hives. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723751417731-23TTRSAPLSGPSRS7BIQU/FA+plates-15.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 7 x 6 ¾ x 4 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723751379247-Z1Q8EF7YZSMVCSKXKVEA/FA+plates-10.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 10 x 8 ½ x 9 ¼ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723751530976-SWJBKHQSFUGUTTFEMK5X/FA+plates-30.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 9 ⅛ x 4 ⅛ x 4 ¼ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723752766587-IF1TSG0WSJFWYTSS2PJQ/FA+plates-35.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, 13 ⅜ x 9 ¼ x 10 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723756416636-9ZIT9YPJOFJOMJGBCQRF/FA+plates-36.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, 10 ¾ x 7 ¾ x 8 ⅜ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723756462736-KT030P0IH3MX1Q9R2SHH/FA+plates-33.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 7 ¾ x 5 ¼ x 5 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723756481962-WYLQECEOJHTUGEKPKMPT/FA+plates-24.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 10 ⅛ x 6 ½ x 4 ⅜ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723756523488-P572K9U5J08F1P1CX0A1/FA+plates-18.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 8 ¾ x 6 ½ x 5 ⅛ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723756555422-QNREQBGE3KCLA5QX8GD4/FA+plates-31.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 9 ½ x 11 x 9 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723756820607-J2XDHFP2WFYFNL6ONTV6/FA+plates-25.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 7 ½ x 5 ½ x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723756827626-TVIYPO1KLWIUE7JX8GUW/FA+plates-28.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024 Wood fired ceramic, quartz, wool, copper, 10 ½ x 7 ½ x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723756835299-5W08D63SDQ98IJHKVUWF/FA+plates-29.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, wool, bone, 11 ½ x 6 ¾ x 7 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723756844073-WV5LKAB0MAAVXY4XG0TZ/FA+plates-27.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, wool, bone, 11 x 6 ¾ x 6 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723756850649-ZX9BBN6EUGH6HSGWS99S/FA+plates-26.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 8 x 6 ½ x 6 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723829343469-R3J9MHMKYLPWPKSEJ0WP/FA+plates-34.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, horn, 12 ½ x 9 ½ x 10 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723829384377-IK219QA10BAMETL8YW92/FA+plates-19.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 7 x 6 ½ x 5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723829351043-JA1JYTM0H7OUDHYU0UMG/FA+plates-13.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, 8 ⅜ x 7 ½ x 6 ⅞ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723829460767-RDMNZ5BN0QZBANSH4ZZL/FA+plates-04.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 9 x 4 ½ x 4 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723829492146-NRSNSMY7FF1OMXQV1HZX/FA+plates-06.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024 ,Wood fired ceramic, quartz, 11 x 6 ⅝ x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723829593404-UNXW3BJASPIPG2ZOBB3B/FA+plates-22.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz 9 ⅜ x 5 ⅝ x 6 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723830042854-MDPVTAY0YNGQPGG3H54R/FA+plates-20.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 7 ½ x 7 x 4 ⅛ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723830126814-VAU8S4WLMO5NQGBKQZR0/FA+plates-01.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 17 ⅛ x 11 x 10 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723830276166-MXYWZD7K7BJRL618P1HM/FA+plates-16.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, 8 x 5 ⅝ x 4 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723830378882-I4DP5CPU4CLM32BH87SC/FA+plates-09.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, 9 ⅝ x 6 ¼ x 6 ⅛ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723830395469-IQL1S4JXLU5J78LHOTAX/FA+plates-14.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 10 ½ x 5 ⅞ x 4 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723830406562-Q2B5NRZHYKTBJXP788TB/FA+plates-08.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 9 ⅝ x 4 ⅛ x 4 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723830415156-KAHKYY9RP0YWFVE1NYL3/FA+plates-21.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 11 ¾ x 9 ½ x 9 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723830433580-I6IPYFMLYD97GPF9IUUX/FA+plates-12.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 10 ⅞ x 5 ¾ x 6 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723830549384-EUG8L6RGBHI1KXWBL0E2/FA+plates-17.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, 13 ½ x 6 ½ x 7 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723830558965-EM6ACQITRRO34D122Z4P/FA+plates-11.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, horn, 14 x 17 ¼ x 7 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723830597177-FELIDVN9KYX55FCFB04S/FA+plates-07.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, 13 x 6 ¾ x 7 ⅜ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723830605342-T8FQT10KVQRFXNWKPYBF/FA+plates-23.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, 8 ⅛ x 8 ⅛ x 7 ⅜ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723830633713-R5WG69VA6ZK5I4U2ZX2O/FA+plates-32.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, 8 ⅛ x 8 ⅛ x 7 ⅜ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723830651807-UGWK6RZ98U1OKQK9RRJJ/FA+plates-05.jpg Exhibitions: Feliciano Abaurre KY - Feliciano Abaurre, Untitled, 2024, Wood fired ceramic, quartz, 8 ⅛ x 8 ⅛ x 7 ⅜ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723833528078-MUAQBY8ALNB2K5TD5VL0/FA+install-01.jpg Exhibitions: Feliciano Abaurre KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723833527707-Q51YYQSLI3BWBVGLPAYP/FA+install-02.jpg Exhibitions: Feliciano Abaurre KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723833606907-O6NSXM76QJE4QTPF13TM/FA+install-03.jpg Exhibitions: Feliciano Abaurre KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723833605996-PUD7SIQUK2C777768SNP/FA+install-04.jpg Exhibitions: Feliciano Abaurre KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723833615131-8U11VI50M659EQ1RRNCQ/FA+install-05.jpg Exhibitions: Feliciano Abaurre KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723833618459-0J5K7JEG3DTPBOKKU4JV/FA+install-06.jpg Exhibitions: Feliciano Abaurre KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723833623491-9P4AY29LFDFOL7YOTPQJ/FA+install-07.jpg Exhibitions: Feliciano Abaurre KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723833628810-T6OBI28P4AV1PFJQLGD1/FA+install-08.jpg Exhibitions: Feliciano Abaurre KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723833632872-N59VA8HCPZ7J785X26P3/FA+install-09.jpg Exhibitions: Feliciano Abaurre KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723833633947-NA67XF6QSF6ACYJ0TLXI/FA+install-10.jpg Exhibitions: Feliciano Abaurre KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723833641089-PCKQG8KRL8DRSR92TAYH/FA+install-11.jpg Exhibitions: Feliciano Abaurre KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1723833641177-AZ92EFNZSN9M81Q5OYF3/FA+install-12.jpg Exhibitions: Feliciano Abaurre KY - Installation views of Feliciano Abaurre, "Faces in Earth", 2024 https://www.institute193.org/off-site-hawkins-bolden daily 0.75 2024-08-22 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724342898424-POUY7TGLOVX8XK63HYPB/2024-8-14-Hawkin-Bolden-Hi-res-11.jpg Off Site: Hawkins Bolden - Installation view of Hawkins Bolden, "Insight" at Mana Contemporary, 2024. Photo by Greg Pallante. Hawkins Bolden Insight May 19 – August 15, 2024 Mana Contemporary – Jersey City Organized by Institute 193 in collaboration with MARCH, Mana Contemporary, and the Tinwood Foundation. On April 4, 1968 at the Lorraine Motel in Memphis, Tennessee, Martin Luther King Jr. was murdered as he stood on the blue-railed balcony, addressing a gathering crowd. Meanwhile, just a few miles away in a neighborhood dubbed Bailey’s Bottom, Hawkins Bolden’s early mask-like sculptures hung silently outside his home, the family inside unburdened by this tragic news for a little while longer. Born in 1914 to a family of African, Creole, and Native American heritage in Memphis, Tennessee, Bolden was closest to his twin brother, Monroe, with whom he shared a love of handmade radios and baseball. Though Bolden lost his sight at a young age, he continued to work with his hands, helping Monroe with electrical work and beginning to experiment with found materials. This was the beginning of a practice that would span nearly four decades and yield a complex body of work. Bolden began his earliest sculptures in 1965, face-like structures created entirely out of found objects often sourced from the streets of his neighborhood. Folded shoe soles, drilled and modified metal, wooden scraps, and strips of textile are common elements; some of the works are bound together with wire and metal chains. Over the course of Bolden’s career, he experimented with various forms, constructing assemblages on wooden posts, two-legged structures, and shield-like tableaux. One of his signature artistic gestures was the creation of self-described scarecrows made from stuffed pairs of work pants––a genus of anthropomorphic sculptures linked by their figurative representations of the lower body. From sight-oriented metal forms covered in eyes to the Christian imagery of wooden crosses, Bolden’s sculptures map his experiences, an extension of all he knew, loved, and feared. He lived through some of the most turbulent years of the Civil Rights Movement, a period of adamant revolution and undeniable loss. This context, combined with the uncanny naturalism of his work, suggests that perhaps Bolden channeled an understanding of violent events through his distilled forms. While some of the seemingly severed lower extremities are propped by frames and beams, the majority hang limply, unposed. The scarecrow motif evokes paradoxical themes of death and resurrection, conjuring an air of disquietude. The works on view are further defined by the use of recycled clothing, referencing a long tradition of transforming old jeans, overalls, scraps, and rags into functional works of art. Not unlike the quiltmakers of Gee’s Bend, Bolden altered old work pants to complete his artworks. Many of the garments likely came from the artist’s own wardrobe, worn out after years spent drilling, stuffing, and assembling in his garden. These resulting works unnerve and compel with equal might, employing discarded objects and immediate imagery to reference a history of craft, culture, and self. -Maria Owen About Maria Owen: Maria Owen is a writer and associate director of MARCH, a gallery and public benefit corporation located in New York City. Owen holds a BFA in History of Art from Pratt Institute and an MSC in Psychology of Art, Neuroaesthetics, and Creativity from Goldsmiths University of London. Her writing has been published by Burnaway, Institute 193, and Whitewall Magazine, among others. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724342898424-POUY7TGLOVX8XK63HYPB/2024-8-14-Hawkin-Bolden-Hi-res-11.jpg Off Site: Hawkins Bolden - Installation view of Hawkins Bolden, "Insight" at Mana Contemporary, 2024. Photo by Greg Pallante. Hawkins Bolden Insight May 19 – August 15, 2024 Mana Contemporary – Jersey City Organized by Institute 193 in collaboration with MARCH, Mana Contemporary, and the Tinwood Foundation. On April 4, 1968 at the Lorraine Motel in Memphis, Tennessee, Martin Luther King Jr. was murdered as he stood on the blue-railed balcony, addressing a gathering crowd. Meanwhile, just a few miles away in a neighborhood dubbed Bailey’s Bottom, Hawkins Bolden’s early mask-like sculptures hung silently outside his home, the family inside unburdened by this tragic news for a little while longer. Born in 1914 to a family of African, Creole, and Native American heritage in Memphis, Tennessee, Bolden was closest to his twin brother, Monroe, with whom he shared a love of handmade radios and baseball. Though Bolden lost his sight at a young age, he continued to work with his hands, helping Monroe with electrical work and beginning to experiment with found materials. This was the beginning of a practice that would span nearly four decades and yield a complex body of work. Bolden began his earliest sculptures in 1965, face-like structures created entirely out of found objects often sourced from the streets of his neighborhood. Folded shoe soles, drilled and modified metal, wooden scraps, and strips of textile are common elements; some of the works are bound together with wire and metal chains. Over the course of Bolden’s career, he experimented with various forms, constructing assemblages on wooden posts, two-legged structures, and shield-like tableaux. One of his signature artistic gestures was the creation of self-described scarecrows made from stuffed pairs of work pants––a genus of anthropomorphic sculptures linked by their figurative representations of the lower body. From sight-oriented metal forms covered in eyes to the Christian imagery of wooden crosses, Bolden’s sculptures map his experiences, an extension of all he knew, loved, and feared. He lived through some of the most turbulent years of the Civil Rights Movement, a period of adamant revolution and undeniable loss. This context, combined with the uncanny naturalism of his work, suggests that perhaps Bolden channeled an understanding of violent events through his distilled forms. While some of the seemingly severed lower extremities are propped by frames and beams, the majority hang limply, unposed. The scarecrow motif evokes paradoxical themes of death and resurrection, conjuring an air of disquietude. The works on view are further defined by the use of recycled clothing, referencing a long tradition of transforming old jeans, overalls, scraps, and rags into functional works of art. Not unlike the quiltmakers of Gee’s Bend, Bolden altered old work pants to complete his artworks. Many of the garments likely came from the artist’s own wardrobe, worn out after years spent drilling, stuffing, and assembling in his garden. These resulting works unnerve and compel with equal might, employing discarded objects and immediate imagery to reference a history of craft, culture, and self. -Maria Owen About Maria Owen: Maria Owen is a writer and associate director of MARCH, a gallery and public benefit corporation located in New York City. Owen holds a BFA in History of Art from Pratt Institute and an MSC in Psychology of Art, Neuroaesthetics, and Creativity from Goldsmiths University of London. Her writing has been published by Burnaway, Institute 193, and Whitewall Magazine, among others. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724343816312-9RMU9J824TQPDLPTC93N/2024-8-14-Hawkin-Bolden-Hi-res-1.jpg Off Site: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, metal wire, baby bed frame, foam, twine, 55 x 42.5 x 6 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724346826986-Z8GBU94SVBQC6DGUOXMM/2024-8-14-Hawkin-Bolden-Hi-res-23.jpg Off Site: Hawkins Bolden - Detail of Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, metal wire, baby bed frame, foam, twine, 55 x 42.5 x 6 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724343816785-JZQSNSFFIW6IY3USJOJP/2024-8-14-Hawkin-Bolden-Hi-res-2.jpg Off Site: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, metal wire, metal shelf, leaves, straw, grass, 47 x 24.5 x 7.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724346825947-RT99AJ69GDK6RZ0QGBJA/2024-8-14-Hawkin-Bolden-Hi-res-24.jpg Off Site: Hawkins Bolden - Detail of Hawkins Bolden, Untitled, 1980s, jeans, metal wire, metal shelf, leaves, straw, grass, 47 x 24.5 x 7.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724343820718-AO87YS8V1EEFA4WZY5DN/2024-8-14-Hawkin-Bolden-Hi-res-3.jpg Off Site: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, twine, coat hanger, 37 x 12 x 7 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724346831022-Z0L3QF87NYSCS3WNKWWR/2024-8-14-Hawkin-Bolden-Hi-res-25.jpg Off Site: Hawkins Bolden - Detail of Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, twine, coat hanger, 37 x 12 x 7 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724343820287-0Q0E9W8606XK01V4VJRH/2024-8-14-Hawkin-Bolden-Hi-res-4.jpg Off Site: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, coat hanger, twine, 34 x 14 x 6 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724346804732-IW86FCDF1H1GO4IE0G6G/2024-8-14-Hawkin-Bolden-Hi-res-15.jpg Off Site: Hawkins Bolden - Detail of Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, coat hanger, twine, 34 x 14 x 6 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724343823230-EHOZEAASB8GQ4FKJQZG8/2024-8-14-Hawkin-Bolden-Hi-res-5.jpg Off Site: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, chinos, leaves, straw, grass, twine, coat hanger, 36 x 14 x 5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724343824780-0G0LHZCNSGHD58SZ4HH3/2024-8-14-Hawkin-Bolden-Hi-res-6.jpg Off Site: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, twine, coat hanger, 37 x 12 x 7 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724343826437-I9NRCNHBHUUHPEJFT6WT/2024-8-14-Hawkin-Bolden-Hi-res-7.jpg Off Site: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, coat hanger, 40 x 15 x 6 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724346802848-EX6WY85LMXI7MYU4L049/2024-8-14-Hawkin-Bolden-Hi-res-14.jpg Off Site: Hawkins Bolden - Detail of Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, coat hanger, 40 x 15 x 6 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724343830045-PCYQ74QLJ2YOKF3VM6GT/2024-8-14-Hawkin-Bolden-Hi-res-9.jpg Off Site: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, coat hanger, 38 x 13 x 6 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724346802170-T437QJWY7YQBSN43RE74/2024-8-14-Hawkin-Bolden-Hi-res-13.jpg Off Site: Hawkins Bolden - Detail of Hawkins Bolden, Untitled, 1980s, jeans, leaves, straw, grass, coat hanger, 38 x 13 x 6 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724343833201-BT3IQA67I2OJLZ6WHV00/2024-8-14-Hawkin-Bolden-Hi-res-10.jpg Off Site: Hawkins Bolden - Hawkins Bolden, Untitled, 1980s, chair, jeans, leaves, straw, grass, hose, steel cookwear, metal wire, pine, carpet, nails, 31 x 24 x 38 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724345352301-6B2EW4EIRGX7ITN2NGSS/2024-8-14-Hawkin-Bolden-Hi-res-16.jpg Off Site: Hawkins Bolden https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724346541136-UTCJQ71CUD3XIESZ7H0U/2024-8-14-Hawkin-Bolden-Hi-res-12.jpg Off Site: Hawkins Bolden https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724345351751-H8S66ST5QLKAD5Q9JU85/2024-8-14-Hawkin-Bolden-Hi-res-17.jpg Off Site: Hawkins Bolden https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724345356464-Q3LMOEYRVC9KD3GJX86B/2024-8-14-Hawkin-Bolden-Hi-res-18.jpg Off Site: Hawkins Bolden https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724345357292-TI4JBTCIYP2RRGD39QGU/2024-8-14-Hawkin-Bolden-Hi-res-19.jpg Off Site: Hawkins Bolden https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724345363198-BV7KS03D8UBS7EW25AOJ/2024-8-14-Hawkin-Bolden-Hi-res-20.jpg Off Site: Hawkins Bolden https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724345363521-LC22S6ETF9RLAT36GZVP/2024-8-14-Hawkin-Bolden-Hi-res-21.jpg Off Site: Hawkins Bolden https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1724345366557-JQLQ6I424ERRSFQR4MTG/2024-8-14-Hawkin-Bolden-Hi-res-22.jpg Off Site: Hawkins Bolden - Installation views of Hawkins Bolden, "Insight" at Mana Contemporary, 2024. Installation photos by Greg Pallante. https://www.institute193.org/exhibitions-mc-sparks daily 0.75 2024-09-25 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1726586140194-UHQ2I8EXEXU79W4QT8OU/_DSC0618e.jpg Exhibitions: MC Sparks KY - MC Sparks, Falling into Everything, 2024, oil on canvas, 60 x 96 inches MC Sparks Muscle Memory September 20 – November 02, 2024 Institute 193 is pleased to present Muscle Memory, the first solo exhibition by Brooklyn-based painter MC Sparks. This body of work invites viewers to look underneath the primordial ooze of gender. Sparks made these paintings over the past year, during their own gender transition, inadvertently merging the expansion of their personal identity with their identity as a painter. The resulting works are a series of fantastical and delightfully grotesque scenes that explore the identitarian imaginary. Hints of recognizable matter surface—peaches, graves, trees, and musical notes—weave and bend sonorously over otherworldly landscapes in one fluid motion. This process of corporeal metamorphosis is essential to transness and Sparks’ identity as a painter. The courage to step outside of what is thought to be fixed propels an inner world into being, one previously confined to dreams. As a trans-masculine person from the South, Sparks contends with a “traditional” sense of manhood by rendering the figures in their paintings as sloping, languid creatures—mermaids finding their way through land. The sea offers so much knowledge about form, its malleability, and even gender, and it is apt for Sparks’ protagonists to exist displaced from their natural habitat. Sparks’ sense of play and camp builds a sense of flexibility and queer visual history. In Falling into Everything, a mermaid emerges from a densely packed camouflage forest, lithe and limp, both embracing the signifiers of manhood and turning them on their head. In Self Creation, an almost effete figure appears in a peach tree, painting themself into being. There is beauty to be found in the unfinished moments, where canvas is exposed and elements of the painting remain fragmentary. These incomplete elements recall the fecundity of baroque painting while underscoring much of the work’s throughline: transness is about a perpetual state becoming, finality falling by the wayside. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1726586140194-UHQ2I8EXEXU79W4QT8OU/_DSC0618e.jpg Exhibitions: MC Sparks KY - MC Sparks, Falling into Everything, 2024, oil on canvas, 60 x 96 inches MC Sparks Muscle Memory September 20 – November 02, 2024 Institute 193 is pleased to present Muscle Memory, the first solo exhibition by Brooklyn-based painter MC Sparks. This body of work invites viewers to look underneath the primordial ooze of gender. Sparks made these paintings over the past year, during their own gender transition, inadvertently merging the expansion of their personal identity with their identity as a painter. The resulting works are a series of fantastical and delightfully grotesque scenes that explore the identitarian imaginary. Hints of recognizable matter surface—peaches, graves, trees, and musical notes—weave and bend sonorously over otherworldly landscapes in one fluid motion. This process of corporeal metamorphosis is essential to transness and Sparks’ identity as a painter. The courage to step outside of what is thought to be fixed propels an inner world into being, one previously confined to dreams. As a trans-masculine person from the South, Sparks contends with a “traditional” sense of manhood by rendering the figures in their paintings as sloping, languid creatures—mermaids finding their way through land. The sea offers so much knowledge about form, its malleability, and even gender, and it is apt for Sparks’ protagonists to exist displaced from their natural habitat. Sparks’ sense of play and camp builds a sense of flexibility and queer visual history. In Falling into Everything, a mermaid emerges from a densely packed camouflage forest, lithe and limp, both embracing the signifiers of manhood and turning them on their head. In Self Creation, an almost effete figure appears in a peach tree, painting themself into being. There is beauty to be found in the unfinished moments, where canvas is exposed and elements of the painting remain fragmentary. These incomplete elements recall the fecundity of baroque painting while underscoring much of the work’s throughline: transness is about a perpetual state becoming, finality falling by the wayside. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1726585354810-VTKFGNJV75ECBL7J1EPO/_DSC0620e.jpg Exhibitions: MC Sparks KY - MC Sparks, Self Creation, 2024, oil on canvas, 72 x 60 inches Biblical themes echo throughout the work in the form of apples that double as music notes. In Note Picker, Melody Maker, a figure plucks the apples from a windblown music staff, signaling that the self is as fertile as the Garden of Eden, and that making the choice to be “known” as Eve did, can bring about rebirth and transformation. If that is humanity’s original sin, we should delight in it. In Resting Place, we see a large heart-shaped tombstone camouflaged into its branching environment. Placed at its feet are not one, but three half-eaten apples, a true indulgence. Left to find their own ways back into the soil, they feed new growth and new songs to be sung. Tombstones, large and weighted, typically signal the end of life, memorializing one’s physical time on earth. Sparks poses the question: must we kill an old self off in order to bloom into another? Likewise in Memory Visitor, where we observe a figure visiting two graves, “R.I.P.” etched into one, literal and punctual, and the other adorned with a dove’s kiss—a soft, sweet reminder that the end is to be cherished like a lover’s embrace. Sparks visualizes what is often difficult about describing one’s shifting identity. It feels implicit, beyond language, like music, or soupy and transformative like a karmic cycle. But mostly, it is an endless process of layering, building, revealing, altering, masking, sketching, observing, and finessing—just like painting. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1726585346979-21B5X0MPCX0H1DVDJA06/_DSC0629e.jpg Exhibitions: MC Sparks KY - MC Sparks, Resting Place, 2024, oil on canvas, 52 x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1726585339265-GARNYQ1VUVH13I9Z3DRL/_DSC0634e.jpg Exhibitions: MC Sparks KY - MC Sparks, Core, 2024, oil on canvas, 24 x 18 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1726585342675-NI4JPW34MYABTFRL3PR9/_DSC0633e.jpg Exhibitions: MC Sparks KY - MC Sparks, Note, 2024, oil on canvas, 24 x 18 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1726585342784-LNF0RJEHTJ0WRCLMKKGK/_DSC0631e.jpg Exhibitions: MC Sparks KY - MC Sparks, Outlook, 2024, oil on canvas, 32 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1726585346278-VK0NZRIYEXSD2UV8AD46/_DSC0630e.jpg Exhibitions: MC Sparks KY - MC Sparks, Personal Best, 2024, oil on canvas, 30 x 20 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1726585349661-32GNJB9DTA04CXN14OMZ/_DSC0627e.jpg Exhibitions: MC Sparks KY - MC Sparks, Memory Visitor, 2024, oil on canvas, 52 x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1726585350103-88MMHMCQ4UCB1RTRQO7K/_DSC0625e.jpg Exhibitions: MC Sparks KY - MC Sparks, Color Theory Camo, 2024, oil on canvas, 60 x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1726585354580-BV35YAXSV5G2F405HCSD/_DSC0623e.jpg Exhibitions: MC Sparks KY - MC Sparks, Melody Maker; Taking Notes, 2024, oil on canvas, 60 x 72 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1727210220808-8L9V4Z6W366FF2CC71KU/MC+Sparks+install+web-01.jpg Exhibitions: MC Sparks KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1727210220594-DITY99X72I72HC9KESL4/MC+Sparks+install+web-02.jpg Exhibitions: MC Sparks KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1727210232095-V0R41GBNV0LMUSFSVX0C/MC+Sparks+install+web-03.jpg Exhibitions: MC Sparks KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1727210232742-3R60W6QE1GMZFU1TQ5N2/MC+Sparks+install+web-04.jpg Exhibitions: MC Sparks KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1727210238389-S9EKNWE5QX2LOU5UCLFW/MC+Sparks+install+web-05.jpg Exhibitions: MC Sparks KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1727210248038-XCYOQ6TYU7VRTQTCZLYP/MC+Sparks+install+web-06.jpg Exhibitions: MC Sparks KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1727210250234-76SFN92UHUTFAZ91J92V/MC+Sparks+install+web-07.jpg Exhibitions: MC Sparks KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1727210259572-L06QO5SY3K8W6523NEC1/MC+Sparks+install+web-08.jpg Exhibitions: MC Sparks KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1727210261287-ZIRIYGL6BJ0ZLGVRSWI5/MC+Sparks+install+web-09.jpg Exhibitions: MC Sparks KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1727210267577-JFB8AOWMJJZW3MV4A3FB/MC+Sparks+install+web-10.jpg Exhibitions: MC Sparks KY - Installation views of MC Sparks, "Muscle Memory", 2024. https://www.institute193.org/off-site-southern-democratic daily 0.75 2024-10-18 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728848194430-LTWO5ZF49FY6Q0GYYUXE/Chae_009.jpg Off Site: Southern Democratic - Installation view of "Southern Democratic" at The Carnegie, 2024. Photo by Jesse Ly. Southern Democratic September 26, 2024 - February 15, 2025 The Carnegie - Covington, KY “I had this notion of what I called a democratic way of looking around, that nothing was more important or less important.” -William Eggleston In October 1976, William Eggleston left his home in Memphis, Tennessee and drove to Plains, Georgia on assignment for Rolling Stone Magazine, tasked with documenting the birthplace of Jimmy Carter, the Democratic candidate for President, just weeks before the election. The resulting images never appeared in the magazine, but the New York publisher Caldecot Chubb soon produced Election Eve, a collection of one hundred original prints in two leather-bound volumes, housed in a linen box and limited to five copies. Eggleston’s trip was scheduled on the heels of his solo exhibition William Eggleston’s Guide at the Museum of Modern Art, a project that was widely viewed as a provocation and panned by the New York Times’ Hilton Kramer as “perfectly banal, perhaps” and “perfectly boring, certainly.” Undeterred, the artist used the Rolling Stone commission to further establish his uncompromising style: observational and democratic in nature, banal to the point of rigid and beautiful clarity. Eggleston’s South is decidedly and curiously devoid of people. Indeed, human beings only appear in two of the one hundred photographs, but the images are nonetheless rich with evidence of life: quiet restaurants, abandoned bicycles, empty roads, and seemingly anxious mailboxes show signs of attention and care beyond the captured instant. Viewed today, these photographs provide a personal and random catalog of a region that is increasingly unrecognizable as the South continues to shift and change in ways that would have been unimaginable in 1976. According to the United States Census Bureau: the expansion of the South—the nation's most populous region—accounted for 87% of the nation's growth in 2023, as the region added over 1.4 million residents for a total population of 130,125,290. It is the only region to have maintained population growth throughout the COVID-19 pandemic and is becoming more racially and ethnically diverse with each passing day. It is in this context that we have organized Southern Democratic, an exhibition comprised of meditative vignettes, each featuring a specific body of work by an artist who is actively examining this changing world, presented here in silent dialogue with Eggleston’s Election Eve. Nearly fifty years later, the United States is on the precipice of another consequential presidential election, one that has the possibility to dramatically alter our collective futures across the region and beyond. We all have roles to play, but it is the artists whose often-quiet observations articulated through the lens of words, photographs, film, painting, and sculpture succeed in truly seeing change––for better or for worse––as it is lived. Not unlike Eggleston, Tag Christof, Casey Joiner, Claudia Keep, and Viva Vadim translate the quotidian while Coulter Fussell, Y. Malik Jalal, and Polo Silk work in lineages of Southern craft to illuminate social cycles. John Chae and Carey Gough meditate on the past and future of Southern land and our ever-threatened environment is the chief concern of Rose Marie Cromwell and Dawn DeDeaux. Albert Moser and Louis Zoellar Bickett work with taxonomies, creating distinct series of images that use repetition to illuminate and track while Amy Pleasant’s figures provide relief and inherent potential, contour renderings of the human form suggesting that our destinies are not fixed. Curated by Phillip March Jones, founder at Institute 193 and owner of MARCH, New York, NY. Artists: Louis Zoellar Bickett, John Chae, Tag Christof, Rose Marie Cromwell, Dawn DeDeaux, William Eggleston, Carey Gough, Claudia Keep, Coulter Fussell, Y. Malik Jalal, Casey Joiner, Albert Moser, Amy Pleasant, Polo Silk, Viva Vadim https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847187415-K4KKT9MSH4VZ8C7AVBY8/Chae_009.jpg Off Site: Southern Democratic - Installation view of "Southern Democratic" at The Carnegie, 2024. Photo by Jesse Ly. Southern Democratic September 26 - February 15, 2024 The Carnegie - Covington, KY “I had this notion of what I called a democratic way of looking around, that nothing was more important or less important.” -William Eggleston In October 1976, William Eggleston left his home in Memphis, Tennessee and drove to Plains, Georgia on assignment for Rolling Stone Magazine, tasked with documenting the birthplace of Jimmy Carter, the Democratic candidate for President, just weeks before the election. The resulting images never appeared in the magazine, but the New York publisher Caldecot Chubb soon produced Election Eve, a collection of one hundred original prints in two leather-bound volumes, housed in a linen box and limited to five copies. Eggleston’s trip was scheduled on the heels of his solo exhibition William Eggleston’s Guide at the Museum of Modern Art, a project that was widely viewed as a provocation and panned by the New York Times’ Hilton Kramer as “perfectly banal, perhaps” and “perfectly boring, certainly.” Undeterred, the artist used the Rolling Stone commission to further establish his uncompromising style: observational and democratic in nature, banal to the point of rigid and beautiful clarity. Eggleston’s South is decidedly and curiously devoid of people. Indeed, human beings only appear in two of the one hundred photographs, but the images are nonetheless rich with evidence of life: quiet restaurants, abandoned bicycles, empty roads, and seemingly anxious mailboxes show signs of attention and care beyond the captured instant. Viewed today, these photographs provide a personal and random catalog of a region that is increasingly unrecognizable as the South continues to shift and change in ways that would have been unimaginable in 1976. According to the United States Census Bureau: the expansion of the South—the nation's most populous region—accounted for 87% of the nation's growth in 2023, as the region added over 1.4 million residents for a total population of 130,125,290. It is the only region to have maintained population growth throughout the COVID-19 pandemic and is becoming more racially and ethnically diverse with each passing day. It is in this context that we have organized Southern Democratic, an exhibition comprised of meditative vignettes, each featuring a specific body of work by an artist who is actively examining this changing world, presented here in silent dialogue with Eggleston’s Election Eve. Nearly fifty years later, the United States is on the precipice of another consequential presidential election, one that has the possibility to dramatically alter our collective futures across the region and beyond. We all have roles to play, but it is the artists whose often-quiet observations articulated through the lens of words, photographs, film, painting, and sculpture succeed in truly seeing change––for better or for worse––as it is lived. Not unlike Eggleston, Tag Christof, Casey Joiner, Claudia Keep, and Viva Vadim translate the quotidian while Coulter Fussell, Y. Malik Jalal, and Polo Silk work in lineages of Southern craft to illuminate social cycles. John Chae and Carey Gough meditate on the past and future of Southern land and our ever-threatened environment is the chief concern of Rose Marie Cromwell and Dawn DeDeaux. Albert Moser and Louis Zoellar Bickett work with taxonomies, creating distinct series of images that use repetition to illuminate and track while Amy Pleasant’s figures provide relief and inherent potential, contour renderings of the human form suggesting that our destinies are not fixed. Curated by Phillip March Jones, Founder at Institute 193 and Owner of MARCH, New York, NY Artists: Louis Zoellar Bickett, John Chae, Tag Christof, Rose Marie Cromwell, Dawn DeDeaux, William Eggleston, Carey Gough, Claudia Keep, Coulter Fussell, Y. Malik Jalal, Casey Joiner, Albert Moser, Amy Pleasant, Polo Silk, Viva Vadim https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728848194430-LTWO5ZF49FY6Q0GYYUXE/Chae_009.jpg Off Site: Southern Democratic - Installation view of "Southern Democratic" at The Carnegie, 2024. Photo by Jesse Ly. Southern Democratic September 26, 2024 - February 15, 2025 The Carnegie - Covington, KY “I had this notion of what I called a democratic way of looking around, that nothing was more important or less important.” -William Eggleston In October 1976, William Eggleston left his home in Memphis, Tennessee and drove to Plains, Georgia on assignment for Rolling Stone Magazine, tasked with documenting the birthplace of Jimmy Carter, the Democratic candidate for President, just weeks before the election. The resulting images never appeared in the magazine, but the New York publisher Caldecot Chubb soon produced Election Eve, a collection of one hundred original prints in two leather-bound volumes, housed in a linen box and limited to five copies. Eggleston’s trip was scheduled on the heels of his solo exhibition William Eggleston’s Guide at the Museum of Modern Art, a project that was widely viewed as a provocation and panned by the New York Times’ Hilton Kramer as “perfectly banal, perhaps” and “perfectly boring, certainly.” Undeterred, the artist used the Rolling Stone commission to further establish his uncompromising style: observational and democratic in nature, banal to the point of rigid and beautiful clarity. Eggleston’s South is decidedly and curiously devoid of people. Indeed, human beings only appear in two of the one hundred photographs, but the images are nonetheless rich with evidence of life: quiet restaurants, abandoned bicycles, empty roads, and seemingly anxious mailboxes show signs of attention and care beyond the captured instant. Viewed today, these photographs provide a personal and random catalog of a region that is increasingly unrecognizable as the South continues to shift and change in ways that would have been unimaginable in 1976. According to the United States Census Bureau: the expansion of the South—the nation's most populous region—accounted for 87% of the nation's growth in 2023, as the region added over 1.4 million residents for a total population of 130,125,290. It is the only region to have maintained population growth throughout the COVID-19 pandemic and is becoming more racially and ethnically diverse with each passing day. It is in this context that we have organized Southern Democratic, an exhibition comprised of meditative vignettes, each featuring a specific body of work by an artist who is actively examining this changing world, presented here in silent dialogue with Eggleston’s Election Eve. Nearly fifty years later, the United States is on the precipice of another consequential presidential election, one that has the possibility to dramatically alter our collective futures across the region and beyond. We all have roles to play, but it is the artists whose often-quiet observations articulated through the lens of words, photographs, film, painting, and sculpture succeed in truly seeing change––for better or for worse––as it is lived. Not unlike Eggleston, Tag Christof, Casey Joiner, Claudia Keep, and Viva Vadim translate the quotidian while Coulter Fussell, Y. Malik Jalal, and Polo Silk work in lineages of Southern craft to illuminate social cycles. John Chae and Carey Gough meditate on the past and future of Southern land and our ever-threatened environment is the chief concern of Rose Marie Cromwell and Dawn DeDeaux. Albert Moser and Louis Zoellar Bickett work with taxonomies, creating distinct series of images that use repetition to illuminate and track while Amy Pleasant’s figures provide relief and inherent potential, contour renderings of the human form suggesting that our destinies are not fixed. Curated by Phillip March Jones, founder at Institute 193 and owner of MARCH, New York, NY. Artists: Louis Zoellar Bickett, John Chae, Tag Christof, Rose Marie Cromwell, Dawn DeDeaux, William Eggleston, Carey Gough, Claudia Keep, Coulter Fussell, Y. Malik Jalal, Casey Joiner, Albert Moser, Amy Pleasant, Polo Silk, Viva Vadim https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847299633-BOSROFP5BOB7QSYQCSNG/Chae_Pleasant_001.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847295646-R2NQYU9XN5KNNUYL5N2R/Chae_012.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847518248-O39M9GESNKHL0K0RM258/Pleasant_001.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847401476-0Z20TDEVQRQ2WFH92YEZ/Jalal_001.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847353764-C0LZK87VUH8D8AVOAQWD/Cromwell_Chae_001.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847351406-9UY29Q113T2G72CF42IQ/Cromwell_002.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847359859-KVBHWH1O546WJ1PHPSYO/Cromwell_Pleasant_001.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847650172-LSQYDBW38XZ0C740RNOW/vadim.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847287511-2UUN7FYKNLNGXUFLX9Z8/Bickett_002.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847286723-WXLNO6JXUA1QEASLVTOJ/Bickett_Joiner_001.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847401907-J6021I77PKCE0ZS2X862/Joiner_001.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847407129-Z08CJW3WWT82HWNU52GF/Joiner_Moser_001.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847465447-KX868ZJRWJCTTZFLSYWQ/Moser_001.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1729283359783-PS4WTITHT0TOJ79B8SXF/Eggleston_006.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847367124-E4FNO1J1I7JY5Q5Y3WGS/Eggleston_002.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847459807-SYDI0O7PGC4BISA4MPNJ/Keep_001.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847460646-DLNEW5RRCDKJN8T89YU3/Keep_Silk_001.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847363685-7WMX4NPG4DI0F8G1ZTM5/DeDeaux_001.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847392375-A18EG9XP4J2WXY1XIU0H/Gough_001.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847311997-UDI92QUK4IB1WC7TNUHC/Christof_001.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847315337-G69HC1P7HQ069DONTFXH/Christof_Fussell_004.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847392623-FF5DZNCLX7N8L0FAMMJY/Fussell_002.jpg Off Site: Southern Democratic https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847523121-K9U41PBCT983ZQIGV8XI/Title_001.jpg Off Site: Southern Democratic - Installation views of "Southern Democratic" at The Carnegie, 2024. All installation photos by Jesse Ly. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1728847518998-072RX5YUD138GCH2DKXX/Pleasant_011.jpg Off Site: Southern Democratic https://www.institute193.org/exhibitions-richard-mccabe-ky daily 0.75 2024-11-21 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1730581511136-HZ6BMH8JAD65EL019GPC/1.+McCabe+-+Five+Flags+Final+.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Former Site of Five Flags Inn, Pensacola Beach, Florida, 2020, pigment print, 20 x 20 inches Richard McCabe Perdido November 08 – December 21, 2024 Perdido is a meditation on place, time and memory. In the fall of 2019, I began making a new series of photographs in the Florida Panhandle. At the same time, my connection to the region through my mother and family was beginning to slip away. Bittersweet feelings of sentimentality for the past and a longing for stability in the present guided my search for solace within art. The title of the exhibition, Perdido is taken from the Spanish and Portuguese word for “lost.” Perdido is also a homage to Perdido Bay and Key, located to the west of Pensacola. A sense of loss, grief and a life in transition inspired the creation of the work for this exhibition. Through photographs, lo-fi projections, found-objects and paintings, Perdido explores my changing relationship with Florida’s Gulf Coast. Richard McCabe August 2023 Inquire https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1730581511136-HZ6BMH8JAD65EL019GPC/1.+McCabe+-+Five+Flags+Final+.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Former Site of Five Flags Inn, Pensacola Beach, Florida, 2020, pigment print, 20 x 20 inches Richard McCabe Perdido November 08 – December 21, 2024 Perdido is a meditation on place, time and memory. In the fall of 2019, I began making a new series of photographs in the Florida Panhandle. At the same time, my connection to the region through my mother and family was beginning to slip away. Bittersweet feelings of sentimentality for the past and a longing for stability in the present guided my search for solace within art. The title of the exhibition, Perdido is taken from the Spanish and Portuguese word for “lost.” Perdido is also a homage to Perdido Bay and Key, located to the west of Pensacola. A sense of loss, grief and a life in transition inspired the creation of the work for this exhibition. Through photographs, lo-fi projections, found-objects and paintings, Perdido explores my changing relationship with Florida’s Gulf Coast. Richard McCabe August 2023 Inquire https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216215129-RQUXQ8DHTKIO93JCNIWZ/Richard+McCabe+Install-46.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Series, 2023, polaroid print in case, 5 ¾ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216108881-KFUBH6O9RV5Z9C4IPMR9/Richard+McCabe+Install-49.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Series, 2023, polaroid print in case, 5 ¾ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216112561-0A9FALR248GGE07EZE48/Richard+McCabe+Install-52.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Series, 2023, polaroid print in case, 5 ¾ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216115587-TU00WCHT11YADJ7DMKQJ/Richard+McCabe+Install-55.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Series, 2023, polaroid print in case, 5 ¾ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216106208-TPS0K8CYFHYOSGHZOPQC/Richard+McCabe+Install-45.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Series, 2023, polaroid print in case, 5 ¾ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732127124873-QNP3YLSHRVIQDHN90Z2M/GHOST+SIGN.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Series, 2023, polaroid print in case, 5 ¾ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216111117-WAT8K22I8YNVRC8M91IU/Richard+McCabe+Install-51.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Series, 2023, polaroid print in case, 5 ¾ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216114653-SK2U2CRTDDT1M5GBREUO/Richard+McCabe+Install-54.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Series, 2023, polaroid print in case, 5 ¾ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216469061-T0J99NOWMXP8JY9E7YNY/Screenshot+2024-11-21+at+11.25.19+AM.png Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Series, 2023, polaroid print in case, 5 ¾ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216107481-P0W7G4TREXOWCKDQ50BB/Richard+McCabe+Install-47.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Series, 2023, polaroid print in case, 3 ½ x 5 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216110089-OLNDD97H187H1G30RM1H/Richard+McCabe+Install-50.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Series, 2023, polaroid print in case, 5 ¾ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216113582-CPJ8UXTO82NXQ1TBOC8I/Richard+McCabe+Install-53.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Series, 2023, polaroid print in case, 5 ¾ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216116596-HNSJT6P9DC8IPIVVCME0/Richard+McCabe+Install-56.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Series, 2023, polaroid print in case, 3 ½ x 5 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1730581494929-9RLDG013N6U1Y72O2FZJ/4.+McCabe+-+Mona+Lisa+Motel.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Mona Lisa Motel, Pensacola, Florida, 2023, polaroid original print, 5 ¾ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216570430-B5R8T4VNV8YWP0R2GLR6/condo+2%281%29.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Two Pensacola Beach Condominiums, 2023, polaroid print in case, 5 ¾ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732127120661-WHQTF8I4B1LDNFP3JNSU/condo+1.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Two Pensacola Beach Condominiums, 2023, polaroid print in case, 5 ¾ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732218595159-W9X34918J1MCKBVPFBCG/color%2Bstudy%2B____.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Color Study #32, 2023, 80 Fuji-Instaxx Prints, 27 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216641492-NCZLRR7MA26BGTTMQMK9/Richard+McCabe+Install-58.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Color Study #33, 2023, 80 Fuji-Instaxx Prints, 27 x 22 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216792740-VYL2AF1BHIU85HTJ9Q38/Richard+McCabe+Install-59.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Variations on a Theme, 2023, acrylic on panel, 6 x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216792750-DMKWN9K5UHEKW4U6VYTH/Richard+McCabe+Install-60.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Variations on a Theme, 2023, acrylic on panel, 6 x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216796127-X32JYRUXH6MF7JGWR9VO/Screenshot+2024-11-21+at+11.25.58%E2%80%AFAM.png Exhibitions: Richard McCabe KY - Richard McCabe, Variations on a Theme, 2023, acrylic on panel, 6 x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216796988-I36WCMW6107Y3Z1JCJ3U/Screenshot+2024-11-21+at+11.26.09%E2%80%AFAM.png Exhibitions: Richard McCabe KY - Richard McCabe, Variations on a Theme, 2023, acrylic on panel, 6 x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216799197-QJTUWU7KXGG8L2GGQSGN/Screenshot+2024-11-21+at+11.26.35%E2%80%AFAM.png Exhibitions: Richard McCabe KY - Richard McCabe, Variations on a Theme, 2023, acrylic on panel, 6 x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216798338-CQL0YDPIYY55UZNWLHR9/Screenshot+2024-11-21+at+11.26.22%E2%80%AFAM.png Exhibitions: Richard McCabe KY - Richard McCabe, Variations on a Theme, 2023, acrylic on panel, 6 x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216794871-1AFLYWDQREQEX2FZCWKT/Screenshot+2024-11-21+at+11.25.43%E2%80%AFAM.png Exhibitions: Richard McCabe KY - Richard McCabe, Variations on a Theme, 2023, acrylic on panel, 6 x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216794261-HOO8HRHQX2V4J8L6IU5I/Richard+McCabe+Install-61.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Variations on a Theme, 2023, acrylic on panel, 6 x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732127119096-8IUZ1T74VG2EUVYBF33M/CONDO+1+.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Key, Florida, 2023-24, polaroid original print in case, 5 x 3 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732216801982-G3F4762GIT3E4UTG3LZH/Screenshot+2024-11-21+at+11.26.47+AM.png Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Key, Florida, 2023-24, polaroid original print in case, 5 x 3 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732127126920-JPBQSBH0FB9GNSAY03G9/Perdido+condo+2.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Key, Florida, 2023-24, polaroid original print in case, 5 x 3 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732127122018-1G462GA4SPMZ1RV22R19/CONDO+4.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Key, Florida, 2023-24, polaroid original print in case, 5 x 3 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732127121094-ZZ7QA3RNBHM8JK51RZRF/CONDO+3.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Key, Florida, 2023-24, polaroid original print in case, 5 x 3 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732127122513-O7D5S834SVD93D6C31ZM/CONDO+5.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Perdido Key, Florida, 2023-24, polaroid original print in case, 5 x 3 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732218738809-MAXV7I00I5GOCFETOKTD/COLOR%2BSTUDY%2B%2523_%2Bcopy.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Color Study #36, 2022, 35 Fuji-Instaxx Prints, 15 x 17 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732217018495-4FIHA8BKHF4IYX57TNGD/McCabe+-+Panama+City.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Panama City Beach, Florida, 2024, pigment print, 16 1⁄4 x 16 1⁄4 inches framed https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1730581491710-U3B1LYTYJTFB529MUC1R/6.+McCabe+-+Pensacola%28checkers%29.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Abandoned Checkers, Pensacola, Florida, 2023, pigment print, 16 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732217021078-HJPPFIZX7N5CWA5WI62R/Screenshot+2024-11-21+at+11.27.03+AM.png Exhibitions: Richard McCabe KY - Richard McCabe, Florida Flamingo, 2024, cyanotype, 22 1⁄4 x 29 3⁄4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732217142949-LVON7VBO2OD596VNSIVD/Richard+McCabe+Install-70.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Palms, Pensacola Beach, Florida, 2023, ortho-litho film, overhead projection, Dimensions variable https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732217152067-3QHSH2C38CXTVPYOZSK2/Richard+McCabe+Install-71.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Sprawl #3, 2024, repurposed light box, ortho-litho film, color gels, tape, 18 x 24 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732127132250-QXCKFEC4EWXX6YLGNQ3C/Perdido+CONDOS.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Condos, Perdido Key, Florida, 2020, pigment print, 20 1⁄2 x 20 1⁄2 inches framed https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732127124148-M0KIW9WB4VJQFYOXIA21/Five+Flags+palms.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Pensacola Beach, Florida, 2019, Fuji-FP-100 print in case, 5 3⁄4 x 3 1⁄2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732217239834-OH8C426T5YQRBBHUELGB/Screenshot+2024-11-21+at+11.27.14+AM.png Exhibitions: Richard McCabe KY - Richard McCabe, Five Flags Inn, circa 1970s, postcard mounted on panel, 4 x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1730581507735-P357CXXQPVN1G2FSI6CX/2.+McCabe+-+Gulf+of+Mexico.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Gulf of Mexico, 2024, pigment print, 20 x 30 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732217246014-RDU846DRS9RTVNZE4BVK/Screenshot+2024-11-21+at+11.27.28+AM.png Exhibitions: Richard McCabe KY - Richard McCabe, Gulf of Mexico, 2024, Fuji-FP-100 print in case, 3 1⁄2 x 5 3⁄4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1730581481099-AUX4KXUJCY4WBJ17KOAO/8.+MCCABE+-Hong+Kong%2C+Pensacola.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Hong Kong, Pensacola, Florida, 2022, pigment print, 16 x 16 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1732217243376-5W2BTPFKNSPCYWW3JOMW/Screenshot+2024-11-21+at+11.27.38+AM.png Exhibitions: Richard McCabe KY - Richard McCabe, Pensacola Beach Sign, Gulf Breeze, Florida, 2019, Fuji-FP-100 print in case, 3 1⁄2 x 5 3⁄4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1730581506144-ZEEPR0UJTO7Z0M3OG4JW/3.+McCabe+-+Gulf+Breeze.jpg Exhibitions: Richard McCabe KY - Richard McCabe, Gulf Breeze, Florida, 2021, pigment print, 30 x 20 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529453319-PHPRR2HAVT7YSO7QSDCQ/Richard+McCabe+Install-23.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529450353-KYQVXZGV0STR2TLWINWG/Richard+McCabe+Install-24.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529447072-O7XIE02KULQ7MNRSONJ6/Richard+McCabe+Install-27.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529449639-BYPW8LNH6HWFA9AUMT31/Richard+McCabe+Install-25.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529447757-ZYWIWISDAY5H8Z4UPOOO/Richard+McCabe+Install-26.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529445122-EF24FITZJZXYPKD9HKA3/Richard+McCabe+Install-29.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529445939-DU146ISGGQS4CY225SNX/Richard+McCabe+Install-28.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529444305-JWTPWVYCE8NFPMRLFINS/Richard+McCabe+Install-30.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529443592-ND4MVPAVWHQ4KXPTRGL3/Richard+McCabe+Install-31.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529442829-2K41OS4W25G2QNRHCRNR/Richard+McCabe+Install-32.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529421891-X4H3TCWZ33OK1RO5RWJ5/Richard+McCabe+Install-40.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529433742-MBL506HFYH1DMWCR04Q6/Richard+McCabe+Install-36.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529431168-BF6543EK953Z6T9S6RDJ/Richard+McCabe+Install-37.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529438290-BTB4YSP3EJR6MNP7Y3UW/Richard+McCabe+Install-35.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529440631-GRST3SJZMC58BP68I6RA/Richard+McCabe+Install-34.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529425078-2AFYSQMIOA8RNGRCIGDP/Richard+McCabe+Install-38.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529422205-Z2TSQ03X9A33ZHBTDVPC/Richard+McCabe+Install-39.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529419401-SA4GVKULZNB36OSRVLNS/Richard+McCabe+Install-41.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529418406-3FNU257MIBKI4YMVQVAV/Richard+McCabe+Install-42.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529408723-GZ8L5BGRMNAGY1CPAJHZ/Richard+McCabe+Install-43.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529409447-FJZ0AHYKE536YY3WJO77/Richard+McCabe+Install-44.jpg Exhibitions: Richard McCabe KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1731529442079-PI683ZGA8MLXAKZ1Q04I/Richard+McCabe+Install-33.jpg Exhibitions: Richard McCabe KY - Installation view of Richard McCabe's "Perdido", 2024. https://www.institute193.org/exhibitions-kole-nichols-ky daily 0.75 2025-01-28 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1735415831516-MYJ6S7CABC89DDUPQVL5/DSCF8586-2.jpg Exhibitions: Kole Nichols KY - Kole Nichols, "In time you’ll change", 2024. Acrylic, natural dye and gel medium on canvas, 58 x 51 inches. Kole Nichols Even When It’s Dark Out January 10 - February 22, 2025 215 N Limestone “Unlike other animals, man was made to stand erect so that he could gaze at the stars... We are at the center of the material universe but at the perimeter of the spiritual universe and we are doomed to watch the spectacle of the celestial dance from afar,” - Eliot Weinberger, The Stars “... at the same time the boundary between the empyrean and the terrestrial is established, separating them but at the same time uniting them.” - Sergius Bulgakov, Unfading Light Thermodynamics teaches us that all observable action in the known universe unfolds as a knotted, marching poem of separations and gaps. Were it not for the essential distances between particles, for the energy and heat differentials across molecules dividing them as individuals, nothing at all could happen. Potential energy yields a lesson that proves difficult for the human spirit to digest: separation precipitates togetherness. In separation, when the stage is set and the conditions ripen, the conversion between potential energy and kinetic connection is inevitable. Under careful attention, within any gap an unseen relationship between the divorced can be enunciated. Paradoxically, through the naming and distinction of the divided, the two can be made closer. In Even When It’s Dark Out, Kole Nichols explores divisions of space and the thresholds that define boundaries. Through a process of internal reflection on memories of traversing the south, Nichols distorts familiar architectural motifs such as gates, windows, and doors into amalgamated compositions gathered from personal recollections both vague and vivid. Alongside these terrestrial thresholds, Nichols mounts a parallel exploration of non-physical boundaries through loose constructions of starfields, maps, and charts. Embracing an observational approach to the construction of his paintings and etchings, Nichols presents a series of works that explores the limits between interior and exterior. These investigations of the physical and the nonphysical unfold together within a unified formal language, reflecting the artist’s internal journey to establish an ordered relationship between the earthly and the spiritual. - Harrison Wayne https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1735415831516-MYJ6S7CABC89DDUPQVL5/DSCF8586-2.jpg Exhibitions: Kole Nichols KY - Kole Nichols, "In time you’ll change", 2024. Acrylic, natural dye and gel medium on canvas, 58 x 51 inches. Kole Nichols Even When It’s Dark Out January 10 - February 22, 2025 215 N Limestone “Unlike other animals, man was made to stand erect so that he could gaze at the stars... We are at the center of the material universe but at the perimeter of the spiritual universe and we are doomed to watch the spectacle of the celestial dance from afar,” - Eliot Weinberger, The Stars “... at the same time the boundary between the empyrean and the terrestrial is established, separating them but at the same time uniting them.” - Sergius Bulgakov, Unfading Light Thermodynamics teaches us that all observable action in the known universe unfolds as a knotted, marching poem of separations and gaps. Were it not for the essential distances between particles, for the energy and heat differentials across molecules dividing them as individuals, nothing at all could happen. Potential energy yields a lesson that proves difficult for the human spirit to digest: separation precipitates togetherness. In separation, when the stage is set and the conditions ripen, the conversion between potential energy and kinetic connection is inevitable. Under careful attention, within any gap an unseen relationship between the divorced can be enunciated. Paradoxically, through the naming and distinction of the divided, the two can be made closer. In Even When It’s Dark Out, Kole Nichols explores divisions of space and the thresholds that define boundaries. Through a process of internal reflection on memories of traversing the south, Nichols distorts familiar architectural motifs such as gates, windows, and doors into amalgamated compositions gathered from personal recollections both vague and vivid. Alongside these terrestrial thresholds, Nichols mounts a parallel exploration of non-physical boundaries through loose constructions of starfields, maps, and charts. Embracing an observational approach to the construction of his paintings and etchings, Nichols presents a series of works that explores the limits between interior and exterior. These investigations of the physical and the nonphysical unfold together within a unified formal language, reflecting the artist’s internal journey to establish an ordered relationship between the earthly and the spiritual. - Harrison Wayne https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1735415826733-4XW8YL26K64W5FLKZCI2/DSCF8364-2.jpg Exhibitions: Kole Nichols KY - Kole Nichols, "Tell me where you’ll go from here", 2024. Acrylic, natural dye, and gel medium on canvas, 55 x 47 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1735415827206-GIM4QFE6UPGC1427L83U/DSCF8433-2.jpg Exhibitions: Kole Nichols KY - Kole Nichols, "At your gate", 2024. Acrylic and gel medium on canvas, 65 x 57 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1735415830435-XSCIS8RF5984TQBQX630/DSCF8556.jpg Exhibitions: Kole Nichols KY - Kole Nichols, "Even when it’s dark out", 2024. Acrylic, natural dye and gel medium on canvas, 61 x 64 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1735415824047-WU1LOFVUW8MFNAMRG2R7/DSCF8314-2.jpg Exhibitions: Kole Nichols KY - Kole Nichols, "At arm’s length", 2024. Acrylic and gel medium on canvas, 46 x 40 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736545996529-IUX5JXAQA0JH6PW5BXS7/DSC05122.jpg Exhibitions: Kole Nichols KY - Kole Nichols, "Around us (Sirius)", 2024. Acrylic, natural dye, and gel medium on canvas, 58 x 51 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736545939670-KROI6A43XXPWQFJKV23W/DSCF8518.jpg Exhibitions: Kole Nichols KY - Kole Nichols, "Past the long hall", 2024. Acrylic and gel medium on canvas, 65 x 59 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736545939274-MCRM688CPLOA4WLF2T4Q/DSCF8173-2.jpg Exhibitions: Kole Nichols KY - Kole Nichols, "Parting hour", 2024. Acrylic and gel medium on canvas, 32 x 27 1⁄2 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736546302677-PHFQ8QL4RMV36H8RMDKF/DSCF81252.png Exhibitions: Kole Nichols KY - Kole Nichols, "10:37 (like night you’ll vanish)", 2024. Acrylic and gel medium on canvas, 44 x 40 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736545955581-W4RTJU2DRUPZ0QKT7BG5/KN+new+plates+by+keelan-2.jpg Exhibitions: Kole Nichols KY - Kole Nichols, "I don’t want to leave", 2024. Acrylic and gel medium on canvas, 41 x 40 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736708749177-ZJWWUX4NT92TXXTLV5SO/KN+install+web+size-01.jpg Exhibitions: Kole Nichols KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736708749114-YWTKF788M4RS4C8V63P6/KN+install+web+size-02.jpg Exhibitions: Kole Nichols KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736708753200-PJ3G6ADRG7P7XHBABKW5/KN+install+web+size-03.jpg Exhibitions: Kole Nichols KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736708756921-ZHJWWLH054TFZP6KIZ8N/KN+install+web+size-04.jpg Exhibitions: Kole Nichols KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736708753425-ZGXQFTES23O3X8TLY6VU/KN+install+web+size-05.jpg Exhibitions: Kole Nichols KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736708757582-VR2E15AOWCIZWQHEF39Q/KN+install+web+size-06.jpg Exhibitions: Kole Nichols KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736708761341-C610YCMSL81FAES7QIQY/KN+install+web+size-07.jpg Exhibitions: Kole Nichols KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736708760872-3V2QXL9W44ZGUCZMO1SL/KN+install+web+size-08.jpg Exhibitions: Kole Nichols KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736708765423-OW9HC3VTOFIN8I85PHTZ/KN+install+web+size-09.jpg Exhibitions: Kole Nichols KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736708765126-12WTMI8BIYSI5J3YKDBN/KN+install+web+size-10.jpg Exhibitions: Kole Nichols KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736708769361-C814FD83A9VSA13OWGPF/KN+install+web+size-11.jpg Exhibitions: Kole Nichols KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736708768708-LGIKKYRDGDLFWYNEWTBZ/KN+install+web+size-12.jpg Exhibitions: Kole Nichols KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736708771500-ORNNYA12LWH2OYKSC6SL/KN+install+web+size-13.jpg Exhibitions: Kole Nichols KY - Installation views of Kole Nichols, "Even When It's Dark Out", 2025. https://www.institute193.org/exhibitions-sasha-tycko daily 0.75 2025-03-18 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736272906465-2YXE0XS3IK9SY3KOXGHX/13.jpg Exhibitions: Sasha Tycko - Sasha Tycko, Fruitbat’s hut, the Atlanta Forest, 2022. Gelatin silver print, 7 ½ x 7 ½ inches. Sasha Tycko Ways Of The Atlanta Forest January 17 – March 22, 2025 193 SHOP - 193 N Limestone Ways, not ends, are the subject of this exhibition. For most of the past two hundred years, “the Atlanta forest” between Key, Bouldercrest, and Constitution Roads in Southeast Atlanta was more field than forest: a slave plantation in the nineteenth century that evolved into a city prison farm throughout the twentieth. As the prison farm gradually closed over several decades, abandoned fields gave way to forest and the history of the land receded from view. That is, until 2021, when the city and its corporate partners announced a plan to build the largest police training center in the country. Over the following two years, people dwelled in the forest in an attempt to block construction of the project, fanning the flames of a long American struggle over slavery, policing, and land. But ways, not ends, are the subject of this exhibition. The photographs here observe the landscape itself as a record, witness, and agent of history. They were made over nearly two years of walking the forest’s shifting and proliferating footpaths as the occupation expanded. Rather than tell the story of the Atlanta forest and its protagonists, the exhibition attempts to give the forest presence, inviting contemplation of the relationship between what is seen and unseen, remembered and forgotten, past and present. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736272906465-2YXE0XS3IK9SY3KOXGHX/13.jpg Exhibitions: Sasha Tycko - Sasha Tycko, Fruitbat’s hut, the Atlanta Forest, 2022. Gelatin silver print, 7 ½ x 7 ½ inches. Sasha Tycko Ways Of The Atlanta Forest January 17 – March 22, 2025 193 SHOP - 193 N Limestone Ways, not ends, are the subject of this exhibition. For most of the past two hundred years, “the Atlanta forest” between Key, Bouldercrest, and Constitution Roads in Southeast Atlanta was more field than forest: a slave plantation in the nineteenth century that evolved into a city prison farm throughout the twentieth. As the prison farm gradually closed over several decades, abandoned fields gave way to forest and the history of the land receded from view. That is, until 2021, when the city and its corporate partners announced a plan to build the largest police training center in the country. Over the following two years, people dwelled in the forest in an attempt to block construction of the project, fanning the flames of a long American struggle over slavery, policing, and land. But ways, not ends, are the subject of this exhibition. The photographs here observe the landscape itself as a record, witness, and agent of history. They were made over nearly two years of walking the forest’s shifting and proliferating footpaths as the occupation expanded. Rather than tell the story of the Atlanta forest and its protagonists, the exhibition attempts to give the forest presence, inviting contemplation of the relationship between what is seen and unseen, remembered and forgotten, past and present. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736272906230-Z4RYJP0RZJWPHX6MUV0R/12.jpg Exhibitions: Sasha Tycko - Sasha Tycko, Supplies tent, the Atlanta Forest, 2022, gelatin silver print, 7 ½ x 7 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736272953558-TV93MBXYS2YVGQB4YSH5/3.jpg Exhibitions: Sasha Tycko - Sasha Tycko, Bridge I, the Atlanta Forest, 2022, gelatin silver print, 4 ¾ x 7 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736272943655-X0NAF1HMGUAZHJZY4GKP/5.jpg Exhibitions: Sasha Tycko - Sasha Tycko, Bridge II, the Atlanta Forest, 2022, gelatin silver print, 7 ½ x 7 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736272913903-AK1417KRFU6R9FREQBI7/11.jpg Exhibitions: Sasha Tycko - Sasha Tycko, Bridge III, the Atlanta Forest, 2022, gelatin silver print, 4 ¾ x 7 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736272917010-ITJLY41YBOOT27C0DNX2/10.jpg Exhibitions: Sasha Tycko - Sasha Tycko, Oak roots beneath a tree house, the Atlanta Forest, 2022, gelatin silver print, 4 ¾ x 7 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736272924935-G7ROX1F2E4Z3X94BJXJU/9.jpg Exhibitions: Sasha Tycko - Sasha Tycko, Clearing, the Atlanta Forest, 2022, gelatin silver print, 4 ¾ x 7 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736272944586-4YXW7F7235H3C7V3W4UC/7.jpg Exhibitions: Sasha Tycko - Sasha Tycko, Desire path I, the Atlanta Forest, 2022, gelatin silver print, 7 ½ x 7 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736272927975-223PAXJ9CRV2828SF57G/8.jpg Exhibitions: Sasha Tycko - Sasha Tycko, Desire path II, the Atlanta Forest, 2022, gelatin silver print, 4 ¾ x 7 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736272935595-YHUBZ8J6QMQ9BKVNBXF2/6.jpg Exhibitions: Sasha Tycko - Sasha Tycko, Chair, Living Room, the Atlanta Forest, 2022, gelatin silver print, 7 ½ x 7 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736272960806-LL3GYDGEK2ZTT5TMQK6T/1.jpg Exhibitions: Sasha Tycko - Sasha Tycko, Intrenchment Creek I, the Atlanta Forest, 2022, gelatin silver print, 7 ½ x 7 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736272961739-GRI9UPP760RTVHG1Z227/Screenshot+2025-01-07+at+1.02.01%E2%80%AFPM.png Exhibitions: Sasha Tycko - Sasha Tycko, Intrenchment Creek II, the Atlanta Forest, 2022, gelatin silver print 7 ½ x 7 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1736272956184-KQBOV0QAGRO2PKJWPSKL/2.jpg Exhibitions: Sasha Tycko - Sasha Tycko, Dirt bike tread, the Atlanta Forest, 2022, gelatin silver print, 4 ¾ x 7 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1738098932460-MZ2G8N5FJVWUNOHFMI7T/Sasha+Tycko+Install+web+final-01.jpg Exhibitions: Sasha Tycko https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1738098942507-943Y41Z1FKV2HT605FYY/Sasha+Tycko+Install+web+final-02.jpg Exhibitions: Sasha Tycko https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1738098943549-UXM5CM7PJDTH68USJRMK/Sasha+Tycko+Install+web+final-03.jpg Exhibitions: Sasha Tycko https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1738098946031-FVRDHFIR29LY0LKU5LJI/Sasha+Tycko+Install+web+final-04.jpg Exhibitions: Sasha Tycko https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1738099617659-QXRLBLYKANOSJUZEAFLT/Sasha+Tycko+Install+web+final-05.jpg Exhibitions: Sasha Tycko https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1738098922261-KC67OW3T3NU7PEZ1P9B6/Sasha+Tycko+Install+web+final-06.jpg Exhibitions: Sasha Tycko https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1738098926541-Z8NMIKP97NPZKPHJQ8YK/Sasha+Tycko+Install+web+final-07.jpg Exhibitions: Sasha Tycko https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1738098926974-RLMC8TUP2HBEFXW9N7CG/Sasha+Tycko+Install+web+final-08.jpg Exhibitions: Sasha Tycko https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1738098932414-YQTKMZNPGLIW7Y14I8S2/Sasha+Tycko+Install+web+final-09.jpg Exhibitions: Sasha Tycko https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1738098937046-0T14N7Y3YOJ5ZKS39TLK/Sasha+Tycko+Install+web+final-10.jpg Exhibitions: Sasha Tycko https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1738098937764-6D10PAO6ZONLER3BWFI3/Sasha+Tycko+Install+web+final-11.jpg Exhibitions: Sasha Tycko https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1738098947244-JBIBZ4CZAIFJJ3WGCRXP/Sasha+Tycko+Install+web+final-12.jpg Exhibitions: Sasha Tycko https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1738098922147-T3JXISP7IGCASXDG3OAJ/Sasha+Tycko+Install+web+final-13.jpg Exhibitions: Sasha Tycko - Installation views of Sasha Tycko, "Ways of the Atlanta Forest", 2025. https://www.institute193.org/exhibitions-mara-korol-ky daily 0.75 2025-03-26 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1739468249960-HGJBJC560DTM4M6C9D2A/Untitled-1.jpg Exhibitions: María Korol KY - María Korol "Tierra adentro (Hinterland)" 2025. Oil on linen, 24 x 26 inches. María Korol Tierra adentro (Hinterland) February 28 - April 12, 2025 215 N Limestone “... behind the tale one caught glimpses of a savage and uncouth life: tents of horsehide, fires fueled by dung, celebrations in which the people feasted on meat singed over the fire or on raw viscera, stealthy marches at dawn, the raid on the corrals, the alarm sounded, the plunder, the battle, the thundering roundup of the stock by naked horsemen, polygamy, stench, and magic.” Jorge Luis Borges, Story of the Warrior and the Captive Maiden “The total humanization of the animal coincides with a total animalization of man.” Giorgio Agamben, The Open In Tierra adentro (Hinterland), María Korol takes stock of the transformative powers coursing through the windswept plains of the interior. Working across oil paintings, ink drawings, and hand-worked ceramics, Korol renders visible geographic spaces far from ports of entry, in the middle or in between, mysterious zones that mirror the obscure interiority of living creatures. Much like the Pampas of Korol’s native Argentina, the inland regions of the American South are a space in which an imported European culture on the coasts gave way to something stranger, darker, and wilder: a landscape populated by pirates, soldiers, inscrutable natives, castaways and maroons, cowboys and horses. These are places where the construction of its inhabitants’ selves arose through processes as akin to the weathering of stone and the formation of rivers as the construction of buildings – processes that overlaid the violence, joy, and chaos of the landscape upon the creatures that came to call it home, calling into question demarcations between human and non-human, western and indigenous, educated and savage. The tenuous world Korol depicts in these works should feel recognizable here in Kentucky, a state whose structuring element is an uneasy alliance struck by the expanding power centers of American culture and its fertile, mysterious interior. Inspired equally by the labyrinthine stories of Jorge Luis Borges, which probe sudden reversals lurking at the edges of our subjectivities, and the tales of pre-hispanic American cultures, where animal spirits intermingle with the dreams and fortunes of the humans living amongst them, these works remind us to never forget that one could easily come to incarnate that which is supposedly opposite. Small oil portraits explode the faces of their subjects, blowing up experiences of defiance, courage, confusion, and guilt to mythic proportions even as the thick brushstrokes blend their edges into the surrounding plains. Other works depict small figures wandering in expansive lands, or charged, unresolved interactions between humans, animals, and other bodies somewhere in between. Korol renders these scenes with joyful, evocative brushwork that combines the elegance and emotional sensitivity of late-period impressionists like Mary Cassat and Henri Matisse with the freedom or deceptive simplicity of artists such as Nellie Mae Rowe and Bill Traylor from the same Southern interior where Korol currently resides. Alongside these depictions are a number of ceramic figurines, further populating the world of Tierra adentro. These totemic figures provide something of a counterpoint to the jittery, fluid forms in the paintings and drawings, paying homage to beings that have shaped Korol’s practice and life by pointing a way forward through the encounters and metamorphoses she illustrates. Crafted from the very earth itself, the current solidity of these figurines’ soft self-confidence has emerged from their fundamental pliability and openness to being shaped by the world. From the dark underbrush and dense interior of the Americas, Korol’s work attempts to uncover a form of life which welcomes transformation without being destroyed by it, which celebrates difference without petrifying it, and which confronts the fundamental unknowability of the interior with love, rather than fear. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1739468249960-HGJBJC560DTM4M6C9D2A/Untitled-1.jpg Exhibitions: María Korol KY - María Korol "Tierra adentro (Hinterland)" 2025. Oil on linen, 24 x 26 inches. María Korol Tierra adentro (Hinterland) February 28 - April 12, 2025 215 N Limestone “... behind the tale one caught glimpses of a savage and uncouth life: tents of horsehide, fires fueled by dung, celebrations in which the people feasted on meat singed over the fire or on raw viscera, stealthy marches at dawn, the raid on the corrals, the alarm sounded, the plunder, the battle, the thundering roundup of the stock by naked horsemen, polygamy, stench, and magic.” Jorge Luis Borges, Story of the Warrior and the Captive Maiden “The total humanization of the animal coincides with a total animalization of man.” Giorgio Agamben, The Open In Tierra adentro (Hinterland), María Korol takes stock of the transformative powers coursing through the windswept plains of the interior. Working across oil paintings, ink drawings, and hand-worked ceramics, Korol renders visible geographic spaces far from ports of entry, in the middle or in between, mysterious zones that mirror the obscure interiority of living creatures. Much like the Pampas of Korol’s native Argentina, the inland regions of the American South are a space in which an imported European culture on the coasts gave way to something stranger, darker, and wilder: a landscape populated by pirates, soldiers, inscrutable natives, castaways and maroons, cowboys and horses. These are places where the construction of its inhabitants’ selves arose through processes as akin to the weathering of stone and the formation of rivers as the construction of buildings – processes that overlaid the violence, joy, and chaos of the landscape upon the creatures that came to call it home, calling into question demarcations between human and non-human, western and indigenous, educated and savage. The tenuous world Korol depicts in these works should feel recognizable here in Kentucky, a state whose structuring element is an uneasy alliance struck by the expanding power centers of American culture and its fertile, mysterious interior. Inspired equally by the labyrinthine stories of Jorge Luis Borges, which probe sudden reversals lurking at the edges of our subjectivities, and the tales of pre-hispanic American cultures, where animal spirits intermingle with the dreams and fortunes of the humans living amongst them, these works remind us to never forget that one could easily come to incarnate that which is supposedly opposite. Small oil portraits explode the faces of their subjects, blowing up experiences of defiance, courage, confusion, and guilt to mythic proportions even as the thick brushstrokes blend their edges into the surrounding plains. Other works depict small figures wandering in expansive lands, or charged, unresolved interactions between humans, animals, and other bodies somewhere in between. Korol renders these scenes with joyful, evocative brushwork that combines the elegance and emotional sensitivity of late-period impressionists like Mary Cassat and Henri Matisse with the freedom or deceptive simplicity of artists such as Nellie Mae Rowe and Bill Traylor from the same Southern interior where Korol currently resides. Alongside these depictions are a number of ceramic figurines, further populating the world of Tierra adentro. These totemic figures provide something of a counterpoint to the jittery, fluid forms in the paintings and drawings, paying homage to beings that have shaped Korol’s practice and life by pointing a way forward through the encounters and metamorphoses she illustrates. Crafted from the very earth itself, the current solidity of these figurines’ soft self-confidence has emerged from their fundamental pliability and openness to being shaped by the world. From the dark underbrush and dense interior of the Americas, Korol’s work attempts to uncover a form of life which welcomes transformation without being destroyed by it, which celebrates difference without petrifying it, and which confronts the fundamental unknowability of the interior with love, rather than fear. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1739461820822-GAI4E1ERHD9D3QKRFW42/el+poeta+2.jpg Exhibitions: María Korol KY - María Korol, "El poeta", 2025. Oil on linen, 18 x 25 inches. Kole Nichols Even When It’s Dark Out January 10 - February 22, 2025 215 N Limestone “... behind the tale one caught glimpses of a savage and uncouth life: tents of horsehide, fires fueled by dung, celebrations in which the people feasted on meat singed over the fire or on raw viscera, stealthy marches at dawn, the raid on the corrals, the alarm sounded, the plunder, the battle, the thundering roundup of the stock by naked horsemen, polygamy, stench, and magic.” Jorge Luis Borges, Story of the Warrior and the Captive Maiden “The total humanization of the animal coincides with a total animalization of man.” Giorgio Agamben, The Open In Tierra adentro (Hinterland), María Korol takes stock of the transformative powers coursing through the windswept plains of the interior. Working across oil paintings, ink drawings, and hand-worked ceramics, Korol renders visible geographic spaces far from ports of entry, in the middle or in between, mysterious zones that mirror the obscure interiority of living creatures. Much like the Pampas of Korol’s native Argentina, the inland regions of the American South are a space in which an imported European culture on the coasts gave way to something stranger, darker, and wilder: a landscape populated by pirates, soldiers, inscrutable natives, castaways and maroons, cowboys and horses. These are places where the construction of its inhabitants’ selves arose through processes as akin to the weathering of stone and the formation of rivers as the construction of buildings – processes that overlaid the violence, joy, and chaos of the landscape upon the creatures that came to call it home, calling into question demarcations between human and non-human, western and indigenous, educated and savage. The tenuous world Korol depicts in these works should feel recognizable here in Kentucky, a state whose structuring element is an uneasy alliance struck by the expanding power centers of American culture and its fertile, mysterious interior. Inspired equally by the labyrinthine stories of Jorge Luis Borges, which probe sudden reversals lurking at the edges of our subjectivities, and the tales of pre-hispanic American cultures, where animal spirits intermingle with the dreams and fortunes of the humans living amongst them, these works remind us to never forget that one could easily come to incarnate that which is supposedly opposite. Small oil portraits explode the faces of their subjects, blowing up experiences of defiance, courage, confusion, and guilt to mythic proportions even as the thick brushstrokes blend their edges into the surrounding plains. Other works depict small figures wandering in expansive lands, or charged, unresolved interactions between humans, animals, and other bodies somewhere in between. Korol renders these scenes with joyful, evocative brushwork that combines the elegance and emotional sensitivity of late-period impressionists like Mary Cassat and Henri Matisse with the freedom or deceptive simplicity of artists such as Nellie Mae Rowe and Bill Traylor from the same Southern interior where Korol currently resides. Alongside these depictions are a number of ceramic figurines, further populating the world of Tierra adentro. These totemic figures provide something of a counterpoint to the jittery, fluid forms in the paintings and drawings, paying homage to beings that have shaped Korol’s practice and life by pointing a way forward through the encounters and metamorphoses she illustrates. Crafted from the very earth itself, the current solidity of these figurines’ soft self-confidence has emerged from their fundamental pliability and openness to being shaped by the world. From the dark underbrush and dense interior of the Americas, Korol’s work attempts to uncover a form of life which welcomes transformation without being destroyed by it, which celebrates difference without petrifying it, and which confronts the fundamental unknowability of the interior with love, rather than fear. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741729932436-SBUJYQBQRO64JIFWI9XD/Encuentro+I.jpg Exhibitions: María Korol KY - María Korol, "Encuentro: espejo (Encounter: Mirror)", 2025. Oil on linen, 12 x 14.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741729954475-9DDF9IQSFW8HA7AGCDJQ/Pampa.jpg Exhibitions: María Korol KY - María Korol, "Pampa", 2025. Oil on linen, 24 x 26 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741729974835-OANZZXFLHPJYE8BRLMF9/Compania.jpg Exhibitions: María Korol KY - María Korol, "Companía (Company)" 2025. Oil on linen, 13 x 10.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741730096466-5HGYWB2YTH0AGKNLVVC0/orol-2025-InvitadosII.jpg Exhibitions: María Korol KY - María Korol, "Familia (Family)", 2025. Ink on Arches paper, 30 x 44 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741730171426-HGCVADWJBOCSX9FL2JKW/tertulia+afuera+2.jpg Exhibitions: María Korol KY - María Korol, "Tertulia afuera (Tertulia outside)" 2025. Oil on linen, 18 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741730182565-GUEBXGM4JSO699MGITT3/Cautiva.jpg Exhibitions: María Korol KY - María Korol, "La cautiva (The Captive)", 2024. Oil on linen, 13 x 9.25 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1739461820480-NKYSSSGLG8WQISBKNV97/Guerrero.jpg Exhibitions: María Korol KY - María Korol, "El guerrero (The Warrior)", 2025. Oil on linen, 13.25 x 9 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741730205045-CXHM18WZFMG7SW9ZVNK0/Korol-2025-Invitados.jpg Exhibitions: María Korol KY - María Korol, "Invitados (Guests)", 2025. Ink on Stonehenge paper, 22 x 30 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741730213488-BNPFFY4B480QHS97UN8H/carnales.jpg Exhibitions: María Korol KY - María Korol, "Carnales, íntimo (Intimacy)" 2025. Ink on Stonehenge paper, 22 x 30 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741730371515-XH42IFJR8BC0BMHKSXJT/DSC00620.jpg Exhibitions: María Korol KY - María Korol, "El zahir", 2024. Oil on linen, 8 x 13 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741730405043-QZNAFX8N8XMAZ7NM9PL0/Conquistador.jpg Exhibitions: María Korol KY - María Korol, "El conquistador (The Conqueror)" 2025. Oil on linen, 13.5 x 9 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741730422236-59HJTUOTJATMKZELLT4G/Untitled.jpg Exhibitions: María Korol KY - María Korol, "El soñador (The Dreamer)" 2025. Oil on linen, 13 x 9 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741730436265-JTG8LVX1CWSVZ4AEHBH4/Adopcion.jpg Exhibitions: María Korol KY - María Korol, "Adoptar (To adopt)" 2025. Oil on linen, 13 x 9 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741730536175-9MCTMIQPO1Z2ZHU0SY7Y/Korol-2025-Grupo.jpg Exhibitions: María Korol KY - María Korol, "Titi", "Nellie", "Mutando", "Cecilia", and "Magda", 2025. Glazed stoneware. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741730441662-3NUJY3AA6ZSKLEZHB0C7/warrior+and+captive.jpg Exhibitions: María Korol KY - María Korol, "Historia del guerrero y la cautiva (Story of the Warrior and the Captive Maiden) ", 2025. Ink on Arches paper, 30 x 44 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1739461814120-CZ36J0ALCS3O9NRPSKYW/Alfonsina.jpg Exhibitions: María Korol KY - María Korol, "Alfonsina", 2025. Oil on linen, 9.25 x 13 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1739462017046-ZINBT0UWFWCZWVYI6ODR/el+poeta+2.jpg Exhibitions: María Korol KY - María Korol, "El poeta", 2025. Oil on linen, 18 x 25 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1739461814420-IODFYAACO7MUEI13I98C/Amado.jpg Exhibitions: María Korol KY - María Korol, "Amado-rrr", 2025. Oil on linen, 13 x 9 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741730680821-XRKM5TADMSTD8ZUF1J6N/Coqueta.jpg Exhibitions: María Korol KY - María Korol, "La coqueta (The Coquette)" 2024. Oil on linen, 11.5 x 9.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741730694160-YU091YJF1UYS4MFOFFUC/Encuentro+II.jpg Exhibitions: María Korol KY - María Korol, "Encuentro: lo paralizó con un dedo (Encounter: Paralysed with One Finger)" 2025. Oil on linen, 18 x 25 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741730713985-TJOI7NS67Q9EJ7FTKDF8/Sombra.jpg Exhibitions: María Korol KY - María Korol, "Sombra (Shadow)" 2025. Oil on linen, 18 x 25 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286858580-HY6PC4RX2PQWNY3OESMX/korol+install-01.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286858088-X9JGVV7UEANYJC0M24TV/korol+install-02.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286860315-42DO03GBRNU34LYK4SC9/korol+install-03.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286862084-TRPXFDKLN7UOFGRRN9PW/korol+install-04.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286864234-COG6BQQGQFUTODV6W0AT/korol+install-05.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286865483-8IKPR14KBN6RZW5BAJCB/korol+install-06.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286866946-90EX2CHTMDS2FUG59E69/korol+install-07.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286869711-2W0S2VR4DN5BRPI48GC2/korol+install-08.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286870131-BYO24CFHUIZBLXDUL6TP/korol+install-09.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286872785-PV51GTA72XD83MXPHZV3/korol+install-10.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286872873-IQ0WX90RUHKYDIA4D2KI/korol+install-11.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286876399-CQ0WK780EKFQVFTL81RE/korol+install-12.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286876832-2B8KKTGI9UD9L20F1RAJ/korol+install-13.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286879505-SBSQ4HFCFNT4XJU0LKKB/korol+install-14.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286880123-AAWR5JHARPKJNYJXLHYT/korol+install-15.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286882115-MRHE7UJLX0PPIBJMX64Q/korol+install-16.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286882925-P1MJLDT4R9V4SWZSX5ZE/korol+install-17.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286885510-0CP54PQW9CDWKZ1MNYXG/korol+install-18.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286885835-Q4193Y60UQDT7BY2OX5W/korol+install-19.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286888016-L9CTS0ZHF7JDZG69T66S/korol+install-20.jpg Exhibitions: María Korol KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1741286889494-2UK7H74S8WLZPU2EF5E0/korol+install-21.jpg Exhibitions: María Korol KY - Installation views of María Korol, "Tierra adentro (Hinterland)", 2025. https://www.institute193.org/exhibitions-king-library-press-and-polyglot-press daily 0.75 2025-04-03 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1743699213733-BGAO8WXWAQATIOVFW299/Screenshot+2025-04-03+at+12.53.27%E2%80%AFPM.png Exhibitions: King Library Press and Polyglot Press Broadsides From The King Library Press and Polyglot Press March 28 - May 17, 2025 193 N Limestone Displayed here are examples of the fine printing tradition in Lexington, Kentucky, with letterpressed broadsides from two local presses: the King Library Press and Polyglot Press. A broadside is a sheet of paper, usually rather large and printed on one side only. Originally developed as a cheap, portable method of conveying information, the broadside was meant to be produced quickly and distributed en masse. From the 1500s-1800s, broadsides were likely the most common printed objects, produced on thin, easily accessible paper. Featuring advertisements, proclamations, popular songs, and news both local and from afar, they were a common sight plastered to walls or sold on streetcorners. With the advent of newspapers, and the general cheapening of the printed word as industrial printing technology advanced, broadsides fell out of favor. Printers began to abandon traditional methods like the use of handset type on letterpress machines, the method used to create the works displayed here. Offset printing, a more flexible, automated method, became widely available in the late 1800s. At the same time, the Arts and Crafts movement arose in England in opposition to the industrial world’s abandonment of such traditional forms of handcraft as the letterpress printing technique. While mass production of print media continued, dissident printmakers also began to place higher value on the slow, attentive, and thoughtful methods of old. These printers reinvigorated the broadside form, not as a method of mass distribution, but rather as a way to communicate the importance of the printed word. Broadsides became a way to attract attention to a particular text, to honor a writer or translator, to commemorate special occasions, to express the printer’s artistry, or simply to share a love for the wonders of language. Here in Lexington, the earliest evidence of this style of printmaking is likely the work of Carolyn Reading and her fellow bookmakers at Bur Press in the 1940s. In 1956, Reading helped found the King Library Press, joining forces with the Austrian-born Victor Hammer, a direct descendent of the European Arts and Crafts movement. Together, their mentorship, vision, and community spirit helped produce a remarkable density of fine printers in the region. Broadsides from throughout the more recent history of the King Library Press are displayed here, touched by the hands of master printers, visiting artists, and student apprentices from 1985 through the present day. On the other wall, we see several examples of the work of Arthur Graham and his Polyglot Press imprint, a notable example of the many other presses active in Lexington. An aficionado of languages and translation, Graham was unique for printing in Danish, French, German, Hebrew, Latin, Neapolitan, Spanish, and Yiddish in addition to English. Institute 193 is grateful to the King Library Press, and in particular to Paul Evans Holbrook, the press’s current director, for assistance in organizing this exhibition. Presented in conjunction with 250LEX’s Literary Lexington programming, the exhibition was further supported by the 250LEX commission. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1743699213733-BGAO8WXWAQATIOVFW299/Screenshot+2025-04-03+at+12.53.27%E2%80%AFPM.png Exhibitions: King Library Press and Polyglot Press Broadsides From The King Library Press and Polyglot Press March 28 - May 17, 2025 193 N Limestone Displayed here are examples of the fine printing tradition in Lexington, Kentucky, with letterpressed broadsides from two local presses: the King Library Press and Polyglot Press. A broadside is a sheet of paper, usually rather large and printed on one side only. Originally developed as a cheap, portable method of conveying information, the broadside was meant to be produced quickly and distributed en masse. From the 1500s-1800s, broadsides were likely the most common printed objects, produced on thin, easily accessible paper. Featuring advertisements, proclamations, popular songs, and news both local and from afar, they were a common sight plastered to walls or sold on streetcorners. With the advent of newspapers, and the general cheapening of the printed word as industrial printing technology advanced, broadsides fell out of favor. Printers began to abandon traditional methods like the use of handset type on letterpress machines, the method used to create the works displayed here. Offset printing, a more flexible, automated method, became widely available in the late 1800s. At the same time, the Arts and Crafts movement arose in England in opposition to the industrial world’s abandonment of such traditional forms of handcraft as the letterpress printing technique. While mass production of print media continued, dissident printmakers also began to place higher value on the slow, attentive, and thoughtful methods of old. These printers reinvigorated the broadside form, not as a method of mass distribution, but rather as a way to communicate the importance of the printed word. Broadsides became a way to attract attention to a particular text, to honor a writer or translator, to commemorate special occasions, to express the printer’s artistry, or simply to share a love for the wonders of language. Here in Lexington, the earliest evidence of this style of printmaking is likely the work of Carolyn Reading and her fellow bookmakers at Bur Press in the 1940s. In 1956, Reading helped found the King Library Press, joining forces with the Austrian-born Victor Hammer, a direct descendent of the European Arts and Crafts movement. Together, their mentorship, vision, and community spirit helped produce a remarkable density of fine printers in the region. Broadsides from throughout the more recent history of the King Library Press are displayed here, touched by the hands of master printers, visiting artists, and student apprentices from 1985 through the present day. On the other wall, we see several examples of the work of Arthur Graham and his Polyglot Press imprint, a notable example of the many other presses active in Lexington. An aficionado of languages and translation, Graham was unique for printing in Danish, French, German, Hebrew, Latin, Neapolitan, Spanish, and Yiddish in addition to English. Institute 193 is grateful to the King Library Press, and in particular to Paul Evans Holbrook, the press’s current director, for assistance in organizing this exhibition. Presented in conjunction with 250LEX’s Literary Lexington programming, the exhibition was further supported by the 250LEX commission. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1743699243053-3F2GALH19BCHT3TLYC1U/Screenshot+2025-04-03+at+12.53.50%E2%80%AFPM.png Exhibitions: King Library Press and Polyglot Press https://www.institute193.org/exhibitions-jackson-markovic daily 0.75 2025-04-30 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1743872237719-QMGL6EIIIK5L2TYMXRMF/pillow.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Pillowstrap", 2024. Archival pigment print, lighting gels, stainless steel lightbox, fluorescent bulbs, 40 x 30 x 5 inches. Jackson Markovic Supernature April 18, 2025 - May 31, 2025 215 N Limestone Supernature is infused with chemical reactions — inside darkrooms, inside plastics, inside desire itself. Boundaries dissolve between body and substance, image and material, pleasure and toxicity. The work metabolizes, pulses, and unsettles – mood stabilizers (Aripiprazole), photo processes (RA-4), and the slow alchemy of self-transformation course through its surfaces. The exhibition title references Cerrone’s 1977 disco track — a winding anthem about pesticides. The song’s form and content are almost antithetical, fusing lyrics that warn of toxic chemicals with rhythms that exude euphoria. Vitality and poison slip between one another. Materially rooted in the surplus of commodity culture, Supernature repurposes second-hand remnants sourced from Metro Atlanta: expired darkroom paper, found acrylic scraps, vintage magazines, discarded lightboxes. Once a tool of seduction in advertising, the fluorescent glow of the lightbox is recontextualized, no longer selling products or lifestyles but illuminating fragments of Markovic’s personal archive, as he takes stock of his own accumulations, materially and emotionally. The lightbox composites beam with melded plastics, faded stains, fingerprints, and stand-in bodies that bear the markings of desire with the passage of time. In a series of lumen prints, pages torn from 1980s collector porn magazines are exposed in sunlight onto outdated darkroom paper (1980s–2010s), triggering unpredictable chemical reactions. Glossy bodies dissolve into streaks of light and residue, their nostalgic value destabilized. In this fragmented reconstruction of the gay image, Markovic reflects on his place within a lineage shaped by both intimacy and loss. The AIDS crisis ripples forward and backward in time, its aftershocks reverberating across generations. Figures fracture, radiate, and flicker between ecstasy and disintegration. History compresses as past and present converge onto a single surface. What lingers, what mutates, what fades? Supernature exists between transformation and dissolution, tracing the residues of touch, time, and chemical entanglement. -Mattie Pieschel https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1743872237719-QMGL6EIIIK5L2TYMXRMF/pillow.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Pillowstrap", 2024. Archival pigment print, lighting gels, stainless steel lightbox, fluorescent bulbs, 40 x 30 x 5 inches. Jackson Markovic Supernature April 18, 2025 - May 31, 2025 215 N Limestone Supernature is infused with chemical reactions — inside darkrooms, inside plastics, inside desire itself. Boundaries dissolve between body and substance, image and material, pleasure and toxicity. The work metabolizes, pulses, and unsettles – mood stabilizers (Aripiprazole), photo processes (RA-4), and the slow alchemy of self-transformation course through its surfaces. The exhibition title references Cerrone’s 1977 disco track — a winding anthem about pesticides. The song’s form and content are almost antithetical, fusing lyrics that warn of toxic chemicals with rhythms that exude euphoria. Vitality and poison slip between one another. Materially rooted in the surplus of commodity culture, Supernature repurposes second-hand remnants sourced from Metro Atlanta: expired darkroom paper, found acrylic scraps, vintage magazines, discarded lightboxes. Once a tool of seduction in advertising, the fluorescent glow of the lightbox is recontextualized, no longer selling products or lifestyles but illuminating fragments of Markovic’s personal archive, as he takes stock of his own accumulations, materially and emotionally. The lightbox composites beam with melded plastics, faded stains, fingerprints, and stand-in bodies that bear the markings of desire with the passage of time. In a series of lumen prints, pages torn from 1980s collector porn magazines are exposed in sunlight onto outdated darkroom paper (1980s–2010s), triggering unpredictable chemical reactions. Glossy bodies dissolve into streaks of light and residue, their nostalgic value destabilized. In this fragmented reconstruction of the gay image, Markovic reflects on his place within a lineage shaped by both intimacy and loss. The AIDS crisis ripples forward and backward in time, its aftershocks reverberating across generations. Figures fracture, radiate, and flicker between ecstasy and disintegration. History compresses as past and present converge onto a single surface. What lingers, what mutates, what fades? Supernature exists between transformation and dissolution, tracing the residues of touch, time, and chemical entanglement. -Mattie Pieschel https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029578687-NBSXELYKVNHCUO4U11IW/1+kiss.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Kiss", 2025. Archival pigment print, metal plumbing tape, stainless steel lightbox, fluorescent bulb, 40 x 30 x 5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1743871773908-LBDXSYB5S22OGR3GHYS0/rush.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Rush 01", 2024. Charcoal, 11 x 8.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029579127-0WIASAWU2RTPXPALZFC2/3+Rush+02.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Rush 02", 2024. Charcoal, 11 x 8.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029585408-STPP34M0WFE5PGDEAF14/4+Rush+03.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Rush 03", 2024. Charcoal, 11 x 8.5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029582204-YEY4INBP6Z40A2I5P3K8/5+GP+1.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 01", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://static1.squarespace.com/static/5c3cc8a11aef1d1735f564f7/67f15bf9a905e53f6a0ff146/67f15cff91b9564ac8e34c85/1746030200450/ Exhibitions: Jackson Markovic KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029585498-T90YTV0I2EWWLFGGBXPL/6+GP+2.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 02", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029587331-JJW843JWK1HOCRGZ4ASP/7+GP+7.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 07", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1743871775090-DMGFSQN5Y5IOQR6S2BVR/GP3.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 03", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029590002-0NJ66Y5MBKEUUFUZ3EJ5/9+fernando.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Fernando Redux", 2022-2025. Archival pigment print, lighting gels, artist's tape, window paint, stainless steel lightbox with acrylic bulbs, 40 x 30 x 5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1743871888803-DUVBUW20Z6XPPQAGRB6F/car+stereo.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Car Stereo", 2025. Archival pigment print, window paint, vinyl car decal, in a stainless steel lightbox with fluorescent bulbs, 40 x 30 x 5 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1743871770977-7N0S08JOPL95FENI6YTR/SP.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Self portrait at 19 and 24", 2025. C-Print, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029590274-U7RM7N29RT7324TDL0OM/12+GP+15.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 15", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029593853-Z1QQMMGQM5MF60HI3XSX/13+dumb+glass.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Dumb Glass", 2025. Silver gelatin print, fresnel lenses, duct tape, found acrylic, privacy window filters, lighting gel, hardware, stainless steel lightbox, 43 x 34 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029593519-ID66IFWPHMPT4ANH8RAT/15+GP+6.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 06", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029595046-Y6KUCDH5ZOM7GAWCTL8T/16+GP+14.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 14", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029595671-LOY8KPRVU2DKLUNBJAO4/17+GP+16.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 16", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029596426-GRM7H01C2GSM134317S8/18+GP+9.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 09", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029597158-4OG6ACB65NX6FPP91W45/19+GP+12.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 12", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1743871751533-NP7LBG7E0HB3QF594ZDH/GP4.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 04", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029598566-EEJ5MXZKO9UFACNQMKW6/21+GP+8.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 08", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029599238-OJHTJYX0LPF05YBDB0LQ/22+GP+11.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 11", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746030311483-L5V30434I599D6ST2C9H/Gay+Photography_05.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 05", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029600423-VQUZ64W9HML01297SZQ3/24+GP+13.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 13", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1746029601135-GX7SB0UGHHB9KDKHRISW/25+GP+10.jpg Exhibitions: Jackson Markovic KY - Jackson Markovic, "Gay Photography 10", 2023-2025. Toned silver gelatin lumen print, unique, 10 x 8 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1745499822768-EP3X6FH8SOLM6ZFU5JDA/markovic+install+web-01.jpg Exhibitions: Jackson Markovic KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1745499822780-RM5ZZ014NA2XJY5EZYVK/markovic+install+web-02.jpg Exhibitions: Jackson Markovic KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1745499826710-RY0AYH445QN2NW4EGX79/markovic+install+web-03.jpg Exhibitions: Jackson Markovic KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1745499826651-4BI6MPVZQUTCJ800BLU6/markovic+install+web-04.jpg Exhibitions: Jackson Markovic KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1745499830534-DY9HTL5HUEBCZF0OWJKN/markovic+install+web-05.jpg Exhibitions: Jackson Markovic KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1745499831052-H6H18J0EKX7Y8NSA7CWM/markovic+install+web-06.jpg Exhibitions: Jackson Markovic KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1745499833441-7Q0U8PGTQJIN0MCX2DT0/markovic+install+web-07.jpg Exhibitions: Jackson Markovic KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1745499835596-BD5LWOV35U4QJRDH1E9H/markovic+install+web-08.jpg Exhibitions: Jackson Markovic KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1745499837422-JAOKTLQ5MXC0V0X0PLZB/markovic+install+web-09.jpg Exhibitions: Jackson Markovic KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1745499838796-RW5X0APXFHSV7F3URJBT/markovic+install+web-10.jpg Exhibitions: Jackson Markovic KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1745499841602-HQSZK419S06ENQHCPN80/markovic+install+web-11.jpg Exhibitions: Jackson Markovic KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1745499842521-XOVA3LXZYR82FEO42RQL/markovic+install+web-12.jpg Exhibitions: Jackson Markovic KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1745499844701-JJNS5S5OX8CA1XHURM1Z/markovic+install+web-13.jpg Exhibitions: Jackson Markovic KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1745499846591-2ZQODXA033677DYTV0XG/markovic+install+web-14.jpg Exhibitions: Jackson Markovic KY - Installation views of Jackson Markovic, "Supernature", 2025. https://www.institute193.org/exhibitions-ceirra-evans daily 0.75 2025-07-21 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1748870774969-KL5B0O5GG1RASWFEZQZV/DSC01403.jpg Exhibitions: Ceirra Evans KY - Ceirra Evans, "Coming up Roses", 2025. Oil on canvas, 64 x 46 inches. Ceirra Evans Come Rain or Shine June 06 - July 19, 2025 215 N Limestone In Eastern Kentucky, climate change isn’t a distant theory—it’s a lived reality. Floods rip through hollers. Snowstorms send families to the Dollar General for the bare essentials. Out here, weather isn’t small talk. It’s a signal. A barometer. A force that calls people to prepare, to adapt, to bear witness. In Come Rain or Shine, Ceirra Evans returns again to the lives and landscapes of her upbringing—not to romanticize or flatten them, but to honor their everyday complexity, their humor, and their enduring relationship with the land and its changes. As much about people as they are about place, these paintings depict the way weather settles in the bones and dictates the shape of a week, a season, a life. Full of warm detail, affection, and sharp wit, Evans’s work shows lives lived in rhythm with rural environments that are both beautiful and brutal, intimate and vast. A woman plants roses in splintering heat. A family gathers on a trailer porch to watch a storm roll in—the danger strong, but the pull of witnessing it even stronger. A farmer greets the mail carrier at the end of the gravel road—not out of routine, but out of a shared understanding that out here, connection is survival. Evans paints with love, but never with illusion. Her work is grounded in deep familiarity—these are people she knows, or could know; stories pulled from her own upbringing in the Appalachian foothills. As a queer artist, her gaze challenges caricature and patronization alike, offering a vision of rural life that is honest, complex, and political by nature. The absurdity of blow-drying a plant in such bitter weather lands not as mockery, but as survival. The moment of sitting still to watch a storm feels less like recklessness and more like reverence. As the political climate shifts alongside the literal one, Come Rain or Shine asks: who gets remembered in times of change? Who gets recorded, painted, cared for? Evans’s answer is clear. These people—her people—deserve to be seen in full. This exhibition is a document, a witness, a love letter, and a warning. If the storms are getting stronger, the stories we tell about each other have to be, too. -Belle Townsend https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1748870774969-KL5B0O5GG1RASWFEZQZV/DSC01403.jpg Exhibitions: Ceirra Evans KY - Ceirra Evans, "Coming up Roses", 2025. Oil on canvas, 64 x 46 inches. Ceirra Evans Come Rain or Shine June 06 - July 19, 2025 215 N Limestone In Eastern Kentucky, climate change isn’t a distant theory—it’s a lived reality. Floods rip through hollers. Snowstorms send families to the Dollar General for the bare essentials. Out here, weather isn’t small talk. It’s a signal. A barometer. A force that calls people to prepare, to adapt, to bear witness. In Come Rain or Shine, Ceirra Evans returns again to the lives and landscapes of her upbringing—not to romanticize or flatten them, but to honor their everyday complexity, their humor, and their enduring relationship with the land and its changes. As much about people as they are about place, these paintings depict the way weather settles in the bones and dictates the shape of a week, a season, a life. Full of warm detail, affection, and sharp wit, Evans’s work shows lives lived in rhythm with rural environments that are both beautiful and brutal, intimate and vast. A woman plants roses in splintering heat. A family gathers on a trailer porch to watch a storm roll in—the danger strong, but the pull of witnessing it even stronger. A farmer greets the mail carrier at the end of the gravel road—not out of routine, but out of a shared understanding that out here, connection is survival. Evans paints with love, but never with illusion. Her work is grounded in deep familiarity—these are people she knows, or could know; stories pulled from her own upbringing in the Appalachian foothills. As a queer artist, her gaze challenges caricature and patronization alike, offering a vision of rural life that is honest, complex, and political by nature. The absurdity of blow-drying a plant in such bitter weather lands not as mockery, but as survival. The moment of sitting still to watch a storm feels less like recklessness and more like reverence. As the political climate shifts alongside the literal one, Come Rain or Shine asks: who gets remembered in times of change? Who gets recorded, painted, cared for? Evans’s answer is clear. These people—her people—deserve to be seen in full. This exhibition is a document, a witness, a love letter, and a warning. If the storms are getting stronger, the stories we tell about each other have to be, too. -Belle Townsend https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1748870710187-Z2LCIZJSHHDDFPR3JOGK/DSC01287.jpg Exhibitions: Ceirra Evans KY - Ceirra Evans, "Fixin’ to rain", 2025. Oil on canvas, 54 x 68 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1748870711209-NLY4GFF354H2EZCT8YAZ/DSC01487.jpg Exhibitions: Ceirra Evans KY - Ceirra Evans, "Milk, Eggs, and Bread", 2025. Oil on canvas, 80 x 56 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1748886313334-EO1NEAONSFYSHC2L7A7W/DSC01844.jpg Exhibitions: Ceirra Evans KY - Ceirra Evans, "Winner, Winner, Chicken Dinner", 2025. Oil on canvas, 50 x 72 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1748886312062-TG6RJ7ACENQ038O9XC3K/DSC01609.jpg Exhibitions: Ceirra Evans KY - Ceirra Evans, “Gotta Do What You Gotta Do”, 2025. Oil on canvas, 38 x 52 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1748886311459-CXUD1BVZDDKEIGUOZWV5/DSC01934.jpg Exhibitions: Ceirra Evans KY - Ceirra Evans, “In Spite of Ourselves”, 2025. Oil on canvas, 66 x 42 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1748886315759-SIG216UGTAAM6WSH8IJX/DSC01651.jpg Exhibitions: Ceirra Evans KY - Ceirra Evans, “Kentucky Meat Shower”, 2025. Oil on canvas, 36 x 36 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1748886316095-RN7EOVU9LH6GR9V0X5UX/DSC01759.jpg Exhibitions: Ceirra Evans KY - Ceirra Evans, “Any Good News?”, 2025. Oil on canvas, 46 x 56 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750355968869-N3XOVGB061YHRNXDMGH5/DSC02098.jpg Exhibitions: Ceirra Evans KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750355969239-QIS2Q3PQAI26329FZ559/DSC02119.jpg Exhibitions: Ceirra Evans KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750355970963-023HQ2JK33ETMVMJAX66/DSC02123.jpg Exhibitions: Ceirra Evans KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750355971823-N1DMYQXEL48INYXZ9D2L/DSC02125.jpg Exhibitions: Ceirra Evans KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750355972769-28BY567J9ACVZG4UAHG2/DSC02128.jpg Exhibitions: Ceirra Evans KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750355973543-46HDKO182RJ1INE93NCD/DSC02159.jpg Exhibitions: Ceirra Evans KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750355975005-TOZ8UYUJC2N0ODIJGON3/DSC02165.jpg Exhibitions: Ceirra Evans KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750355975749-5KBOPWT0ZKLW6B4ZYE0B/DSC02195.jpg Exhibitions: Ceirra Evans KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750355976922-SEXGL49PJQO3F5R36UWZ/DSC02203.jpg Exhibitions: Ceirra Evans KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750355978243-KKE1FHT2RQ3M6HK1JQLM/DSC02241.jpg Exhibitions: Ceirra Evans KY - Installation views of Ceirra Evans, "Come Rain or Shine", 2025. https://www.institute193.org/exhibitions-tom-parrish-ky daily 0.75 2025-06-19 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357754362-QFVILHQ9SAGZ4RDADHP4/193Sap44wsWhole.jpg Exhibitions: Tom Parrish KY - Tom Parrish, "fragment 44", 2017-2025. Archival Inkjet print on Hahnemuhle photo rag, 19.75 x 25.375 inches framed. Tom Parrish All That’s Left is All There is May 23 - July 12, 2025 193 N Limestone The Greek poet Sappho (circa 630 to 570 BC) was celebrated both during her life and after. As is well known, all but one of her poems come to us in fragmented bits and pieces. Anne Carson, a modern classical scholar and a poet herself, offers her translations in her book If Not, Winter, 2002. The Kentuckian Guy Davenport, another scholar and writer, gives us his in his book 7 Greeks, 1976. These pictures come from both sources. Carson and Davenport number their fragments differently. Hers are more generally accepted. I have used them here to identify the images, but there is something to be gained from reading both translators, and they are quoted interchangeably. Sappho’s world contains a huge cast of characters, not all of which are represented here. But still: demigods, gods, goddesses, hookers, Johns, one of whom is Sappho’s brother, heroes, kings, a butler, a ghost, more than one idiot, brides, grooms, birds, craftspeople, sailors, and especially beautiful young women and men. She is a wedding singer. She is married and has a daughter. Clothes are important to her. She speaks her mind and can be neurotic. She dreads old age. She loves the moon. She does not hesitate to call on Aphrodite to help her with unwilling lovers. –Tom Parrish https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357754362-QFVILHQ9SAGZ4RDADHP4/193Sap44wsWhole.jpg Exhibitions: Tom Parrish KY - Tom Parrish, "fragment 44", 2017-2025. Archival Inkjet print on Hahnemuhle photo rag, 19.75 x 25.375 inches framed. Tom Parrish All That’s Left is All There is May 23 - July 12, 2025 193 N Limestone The Greek poet Sappho (circa 630 to 570 BC) was celebrated both during her life and after. As is well known, all but one of her poems come to us in fragmented bits and pieces. Anne Carson, a modern classical scholar and a poet herself, offers her translations in her book If Not, Winter, 2002. The Kentuckian Guy Davenport, another scholar and writer, gives us his in his book 7 Greeks, 1976. These pictures come from both sources. Carson and Davenport number their fragments differently. Hers are more generally accepted. I have used them here to identify the images, but there is something to be gained from reading both translators, and they are quoted interchangeably. Sappho’s world contains a huge cast of characters, not all of which are represented here. But still: demigods, gods, goddesses, hookers, Johns, one of whom is Sappho’s brother, heroes, kings, a butler, a ghost, more than one idiot, brides, grooms, birds, craftspeople, sailors, and especially beautiful young women and men. She is a wedding singer. She is married and has a daughter. Clothes are important to her. She speaks her mind and can be neurotic. She dreads old age. She loves the moon. She does not hesitate to call on Aphrodite to help her with unwilling lovers. –Tom Parrish https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357758091-MGRR9JD69W74SZ8RKCZR/193sap70ws.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 170, 2017-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357763289-V3BRY2OKHXMXA7WVHQ6W/193Sap158Iws.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 158, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357762408-MGJUCH351I0PEOACFUGP/193Sap147wss.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 147, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357763782-T3E57N5HBCN6OJ05F7SI/193Sap164ws.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 164, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357761112-177VBRS0AUKKQ3SY8E7T/193Sap136ws.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 136, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357762153-KATZZ69AY46WSPE9Y04A/193Sap140ws.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 140, 2017-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357755886-MA9SJSIBN1WAY9N4J8P7/193Sap45ws.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 45, 2016-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357764755-ZA37CS2SL9W76XJTKTRC/193Sap168aWS.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 168, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357764968-6QCE6DGTU5P4TXMAF5AX/193Sap168b2ndWS.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 168A, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357766103-2XPO49EW0B38L5SJE7Y5/193Sap168cWS.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 168B, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357766179-CJGZ7PFOA2KPAXKBV1M4/193Sap168dWS.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 168C, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357759441-NNN5OR0XD15WER7QR5XT/193Sap119ws.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 119, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357767450-58QEL7D928OL33LB67JJ/193Sap177ws.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 177, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357760632-4ITBYPQFROMJE0RCYY1H/193Sap128WS.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 128, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357768807-QJFCUH0C30P531NFF6FA/193Sap183ws.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 183, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357760021-5TF5M98TTZC0V69LXLGU/193Sap120WS.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 120, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357769452-MDVZDCM3KIW53GNQPJ5L/193Sap187ws.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 187, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357755862-E5XSP3RDCKCZ7REDP24D/193Sap47ws.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 47, 2016-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357767550-AZU8LPLFS1GLH5Z811GJ/193Sap182ws.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 182, 2019-2025. Archival Inkjet print on Hahnemuhle photo rag, 6.5 x 6.5 inches, 12.25 x 12.25 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357757728-QOOOMBFVCNDB7GYL4FKO/193Sap96WHOLEws%2Bcopy.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 96, 2017-2025. Archival Inkjet print on Hahnemuhle photo rag, 27.5 x 50 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357754420-XO3C6AAVUHY1VR9BUG3S/193Sap2ws.jpg Exhibitions: Tom Parrish KY - Tom Parrish, fragment 2, 2017-2025. Archival Inkjet print on Hahnemuhle photo rag, 11.75 x 8 inches, 17.5 x 13.75 inches framed. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357561810-RA63J84UEVBHXNJSUTK0/DSC02254.jpg Exhibitions: Tom Parrish KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357563704-8S81DJX6AD1S5DCV9SW8/DSC02260.jpg Exhibitions: Tom Parrish KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357565913-DXMB00RHYB192C6WSCCR/DSC02284.jpg Exhibitions: Tom Parrish KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357566006-CXL6KGME0JNK3AN4B24G/DSC02282.jpg Exhibitions: Tom Parrish KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357567621-0QMSAD1O38M60Y4BNH08/DSC02286.jpg Exhibitions: Tom Parrish KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357564049-A8LON1HEFOWQUMHI2UOP/DSC02267.jpg Exhibitions: Tom Parrish KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357568280-MN11AUH0T7Z5V9KJ73MM/DSC02264.jpg Exhibitions: Tom Parrish KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357559372-F18B66R9J0ELY0X9F3UK/DSC02279.jpg Exhibitions: Tom Parrish KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357559239-NLL58UU4CNVCSPUE4ENA/DSC02291.jpg Exhibitions: Tom Parrish KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750357561771-MU1BED4FQUGHFQO7I6TY/DSC02274.jpg Exhibitions: Tom Parrish KY - Installation views of Tom Parrish, "All That's Left is All There is", 2025. https://www.institute193.org/off-site-portals-pathways-and-the-spaces-between-us daily 0.75 2025-07-10 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752084220629-NGTXE2GFJXSO7ZM95G3R/kadist+event-22.jpg Off Site: Portals, Pathways, and the Spaces Between Us Portals, Pathways, and the Space Between Us June 29, 2025 Abandoned Pumphouse, Coldstream Park - Lexington, KY Portals, Pathways, and the Space Between Us, is an exhibition that explores placemaking, shapeshifting, and temporalities of Kentucky through the Ohio River. The river is a point of study and departure, its historical significance rooted in division and symbols of freedom. The river acts as both a border and a point of shared connection—the complexities of this contradiction are unique to Kentucky, revealing the nuances of placemaking and identity. Anthropologist Kathleen Stewart states, “From the perspective of acts of place and its sensory materiality, place is something that throws itself together in moments, things, in aesthetic sensibilities and affective chargers.” Placemaking transcends historical markers but is rooted in everyday occurrences, the buildup of relationships, colloquial sayings, and the environment, shared sentiments, or bodily gestures. This exhibition examines scenes of Kentucky placemaking that hold resonance, reverence, and vibrancy through texture, aural and oral signifiers, myths, and gestures that are specific to the region. Thinking of movement, fluidity, ephemerality, and environmental activation, this exhibition consists of outdoor pop-up video exhibitions that take place throughout the state of Kentucky. The exhibition spans six venues across six cities in Kentucky, occurring once a month from June to November 2025. The traveling exhibition is composed of two videos and a soundscape that represent international and regional voices that interweave disruption and contemplation through placid yet subversive temporalities. Sora Kim’s Turtle Walk (2010) depicts two performers walking through a densely urban landscape. The performers are obscured by large white disks they carry on their backs as they navigate a maze-like pathway of brick and concrete. In contrast to the industrial landscape of Kim’s work, Katinka Bock’s Couler un tas de pierres (2007) is devoid of overt human presence. A small boat carrying a mysterious mound of rocks gently floats down a river surrounded by dense trees. Despite the differences in urban and rural settings, the works hold an inherent slowness due to their ambiguous aimlessness. The nomadic wandering is further layered with a conceptual score by Britni Bicknaver and Brianna Kelly’s River Gaze (2024), in which the sounds of rushing water, steamboats, barges, and canoes interweave to evoke a cinematic soundscape—a soundtrack originally made to be listened to along the Ohio River. This exhibition is malleable, and designed to activate sites specific to each venue. The presentation, atmosphere, and engagement changes as the three traveling artworks take different forms—projections on the foliage of trees to a performance along the river to a screening on an abandoned millhouse. The addition of local artist(s) per venue further expands the exhibition, highlighting the nuances of place and identity through each environmental activation. – Sso-Rha Kang Curator, The Carnegie Rotating through six sites across Kentucky, Institute 193 was proud to be the Lexington-area partner for this exhibition. In addition to the video works from Sora Kim and Katinka Bock and an audio piece by Britni Bicknaver and Brianna Kelly, Institute 193 contributed the paintings of Lina Tharsing. Tharsing’s paintings exist in a space between the tangible and the ephemeral. They capture the fleeting nature of light—how it shimmers on water, fractures through trees, and dissolves into the horizon—both present and intangible, just beyond reach. This transience mirrors something deeper: a meditation on presence and absence, on grief, and on the liminal spaces between worlds. Many of these paintings contain double moons—the moon itself and its reflection, equal and opposite. Drawn to the brilliance of the reflection, one might dive toward it, only to find it is not the moon, but a mirror. This illusion acts as a metaphor for loss: those we grieve remain with us, yet remain unreachable—both there and not there, their absence forming its own kind of presence. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752084220629-NGTXE2GFJXSO7ZM95G3R/kadist+event-22.jpg Off Site: Portals, Pathways, and the Spaces Between Us Portals, Pathways, and the Space Between Us June 29, 2025 Abandoned Pumphouse, Coldstream Park - Lexington, KY Portals, Pathways, and the Space Between Us, is an exhibition that explores placemaking, shapeshifting, and temporalities of Kentucky through the Ohio River. The river is a point of study and departure, its historical significance rooted in division and symbols of freedom. The river acts as both a border and a point of shared connection—the complexities of this contradiction are unique to Kentucky, revealing the nuances of placemaking and identity. Anthropologist Kathleen Stewart states, “From the perspective of acts of place and its sensory materiality, place is something that throws itself together in moments, things, in aesthetic sensibilities and affective chargers.” Placemaking transcends historical markers but is rooted in everyday occurrences, the buildup of relationships, colloquial sayings, and the environment, shared sentiments, or bodily gestures. This exhibition examines scenes of Kentucky placemaking that hold resonance, reverence, and vibrancy through texture, aural and oral signifiers, myths, and gestures that are specific to the region. Thinking of movement, fluidity, ephemerality, and environmental activation, this exhibition consists of outdoor pop-up video exhibitions that take place throughout the state of Kentucky. The exhibition spans six venues across six cities in Kentucky, occurring once a month from June to November 2025. The traveling exhibition is composed of two videos and a soundscape that represent international and regional voices that interweave disruption and contemplation through placid yet subversive temporalities. Sora Kim’s Turtle Walk (2010) depicts two performers walking through a densely urban landscape. The performers are obscured by large white disks they carry on their backs as they navigate a maze-like pathway of brick and concrete. In contrast to the industrial landscape of Kim’s work, Katinka Bock’s Couler un tas de pierres (2007) is devoid of overt human presence. A small boat carrying a mysterious mound of rocks gently floats down a river surrounded by dense trees. Despite the differences in urban and rural settings, the works hold an inherent slowness due to their ambiguous aimlessness. The nomadic wandering is further layered with a conceptual score by Britni Bicknaver and Brianna Kelly’s River Gaze (2024), in which the sounds of rushing water, steamboats, barges, and canoes interweave to evoke a cinematic soundscape—a soundtrack originally made to be listened to along the Ohio River. This exhibition is malleable, and designed to activate sites specific to each venue. The presentation, atmosphere, and engagement changes as the three traveling artworks take different forms—projections on the foliage of trees to a performance along the river to a screening on an abandoned millhouse. The addition of local artist(s) per venue further expands the exhibition, highlighting the nuances of place and identity through each environmental activation. – Sso-Rha Kang Curator, The Carnegie Rotating through six sites across Kentucky, Institute 193 was proud to be the Lexington-area partner for this exhibition. In addition to the video works from Sora Kim and Katinka Bock and an audio piece by Britni Bicknaver and Brianna Kelly, Institute 193 contributed the paintings of Lina Tharsing. Tharsing’s paintings exist in a space between the tangible and the ephemeral. They capture the fleeting nature of light—how it shimmers on water, fractures through trees, and dissolves into the horizon—both present and intangible, just beyond reach. This transience mirrors something deeper: a meditation on presence and absence, on grief, and on the liminal spaces between worlds. Many of these paintings contain double moons—the moon itself and its reflection, equal and opposite. Drawn to the brilliance of the reflection, one might dive toward it, only to find it is not the moon, but a mirror. This illusion acts as a metaphor for loss: those we grieve remain with us, yet remain unreachable—both there and not there, their absence forming its own kind of presence. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088171435-VERF15HRZCXMUCBU2WS5/kadist+event-01.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088172471-4ZIIUJJEVAFNEZQ7RZQP/kadist+event-02.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088174219-2FQXUHVIP9UV44C7L4DV/kadist+event-03.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088174076-OJL0MG65UDRJR3KUJWS6/kadist+event-04.jpg Off Site: Portals, Pathways, and the Spaces Between Us 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https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088194305-FADYMYO9Y7ROPMG4OUR2/kadist+event-22.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088196565-M0XRRJTAWADN12DZI0T1/kadist+event-23.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088196914-J7H7JQ9JYTMGTF6R48JH/kadist+event-24.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088199321-5KHECR760T531TJ2M3AL/kadist+event-25.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088199514-ZJ57AQ4ADJUDXMCIYXZS/kadist+event-26.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088202122-BM5RMGOA62WTI1FCM9D3/kadist+event-27.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088201651-KIZ90L295SV75JRI5A86/kadist+event-28.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088204883-ES4WV7UIIFRA10HDCKC1/kadist+event-29.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088204659-WKCGCFTAOT654XNL0F67/kadist+event-30.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088206957-HR0NZ2U6GVFFW9BG8YXH/kadist+event-31.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088207350-X8L655VFVQO01S4SCW79/kadist+event-32.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088208773-KVBQL60ECQVUXUUVJM5V/kadist+event-33.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088209497-37VC12FUV9MD3DMXPIX9/kadist+event-34.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088210446-SJ568BR5SA3LHSPXXA25/kadist+event-35.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088211188-9ACJGUB70F466YL6IO6J/kadist+event-36.jpg Off Site: Portals, Pathways, and the Spaces Between Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752088212889-UIH6QQ7PCKP6K7YYOBIR/kadist+event-37.jpg Off Site: Portals, Pathways, and the Spaces Between Us - Installation views of "Portals, Pathways, and the Space Between Us", 2025. https://www.institute193.org/exhibitions-susan-te-kahurangi-king-and-eric-oglander daily 0.75 2025-10-09 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752600946659-4D3PJ82DOYNRFMTGC4J4/Untitled-1.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Left: Detail of Susan Te Kahurangi King, "Untitled", 1966. Right: Eric Oglander, "footing", 2025. Susan Te Kahurangi King Eric Oglander By Golly July 19 - September 5, 2025 193 N Limestone Institute 193 is pleased to present By Golly, a two-person exhibition pairing the work of Susan Te Kahurangi King and Eric Oglander alongside archival objects from the personal collection of Petita Cole, King’s sister and de facto art historian. The exhibition positions twelve of King’s drawings – selected by Oglander and Cole –as inspiration for recent works by Oglander. While King often translates everyday objects and phenomena into flattened abstractions, Oglander teases the forms back into the third dimension. Arranged here as a conversation across time and space between the two artists, By Golly elucidates shared concerns, obsessions, and visual themes between differing bodies of work. Born in 1951 in Te Aroha, New Zealand, Susan Te Kahurangi King began drawing from a young age, recognized early for her artistic prowess. By the time she was seven, King had entirely stopped speaking, but she continued to draw prolifically, developing a unique visual language where pop-culture figures including Mickey Mouse, Donald Duck, and others were stretched, chopped, and otherwise distorted into complex and precisely rendered compositions. After a brief period in the 1990s and early 2000s where she stopped producing artwork, King returned to her practice in 2008. In the more recent drawings exhibited here, the chaotic geometry that long surrounded her early figures becomes the foreground, in what could be taken as a radical progression of her subjects’ fragmentation. Oglander’s work likewise reveals a fascination with the possibilities of warping and bending quotidian objects or commonplace signs. Born and raised in Tennessee, his work imparts a sense of both possibility and danger inherent equally to childhood science experiments and sojourns through the backcountry. Combining natural objects like wax or wood with everyday industrial materials such as shirt fabrics, coins, or cardboard, his minimal sculptures deploy subtle optical or tactile gestures to appear at once happenstance and painstakingly crafted. When viewed together, formal similarities come into focus, despite the two artist’s vastly different mediums. An obsession with the possibility of the line is manifested across both bodies of work, whether drawn, found, sewn, or stretched. King deftly renders a variety of wood grain patterns in two drawings from 1966, while Oglander explores the same variety by combining sticks, scraps of plywood and lumber, and taut shirt fabrics stretched to distort their precise patterns. More conceptually, the artists share a desire to explore and illustrate the concept of tension. In many drawings, King’s figures are stretched or wrenched past the point of a body’s natural capacity, and even her most abstract elements toe the line between order and chaos. Similarly, Oglander’s sculptures, particularly the trebuchets or those involving nylon string and found street sweeper bristles, often freeze the moments just before a tenuous spatial arrangement tips over into total collapse. Underneath a surface of precise craftsmanship, both artists call into presence the fundamental pliability of the worlds both surrounding us and interior to our own experience, a pliability both exhilarating and terrifying to encounter. About Susan Te Kahurangi King: Susan Te Kahurangi King was born in 1951 in Te Aroha, New Zealand. The second eldest of twelve children, she began drawing from a young age. King’s artistic abilities only increased with time; her teachers remarked on her renderings of complicated figures and her ability to concentrate on drawing for hours at a time. At five years old, King’s speech began to decline, and by the age of seven she had stopped speaking entirely. As her speech lessened, King’s commitment to drawing only increased. Even at seven years old, she was prolific and showed great promise as an artist. In 1960, King’s family moved to Auckland for King to attend a newly established IHC school for children with learning disabilities, which she attended for almost three decades. Into adulthood, King developed a mode of deconstructing and expanding figures, incorporating characters like Mickey Mouse, Donald Duck, Cruella de Vil into elaborate, multi-planar scenes. She continued to make drawings until the early 1990s, when, during a difficult period, she stopped drawing altogether. After almost two decades, King recommenced her work in 2008. Encouraged by renewed interest in her drawings and the upcoming production of Dan Salmon’s documentary, “Pictures of Susan,” she began making work in conversation with her final drawings of the nineties. In a matter of months, King had her first solo exhibition at Callan Park, Sydney, curated by Peter Faye. She swiftly went on to exhibit in Auckland, New York, and Paris, presenting her first museum exhibition at the ICA Miami in 2016. In 2018, she was awarded a Fellowship with the American Folk Art Museum (New York, NY). King’s work resides in the collections of the Museum of Modern Art (New York, NY), the American Folk Art Museum (New York, NY), the Chartwell Collection at Auckland Art Gallery (Toi o Tāmaki, New Zealand), The Arts Trust House (Auckland, New Zealand), and the Philadelphia Museum of Art (Philadelphia, PA). She lives and works in Hamilton, New Zealand. About Eric Oglander: Driven by experimentation and craft, Eric Oglander creates intimately scaled minimalist sculptures that explore subtle optical and scientific phenomena. Using everyday materials like string, plywood, branches, metal, and found objects that unify and neutralize, rendering the newly formed objects into a coherent whole thought. The resulting works each possess an airiness and delicate quality. While most of his sculptures exist purely for their aesthetic value, some are capable of throwing small projectiles. These Trebuchets and Catapults pieces stem from Eric's childhood fascination with medieval siege engines discovered while watching the History Channel. They now embody his mature artistic practice, balancing play, physics, and visual appeal through a lens of enduring childlike wonder. Recent solo exhibitions of Oglander’s work include Do Nothing Machine at Bernheim Gallery (London, UK) and To Ward at Swivel Gallery (Saugerties, NY). https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752600946659-4D3PJ82DOYNRFMTGC4J4/Untitled-1.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Left: Detail of Susan Te Kahurangi King, "Untitled", 1966. Right: Eric Oglander, "footing", 2025. Susan Te Kahurangi King Eric Oglander By Golly July 19 - September 5, 2025 193 N Limestone Institute 193 is pleased to present By Golly, a two-person exhibition pairing the work of Susan Te Kahurangi King and Eric Oglander alongside archival objects from the personal collection of Petita Cole, King’s sister and de facto art historian. The exhibition positions twelve of King’s drawings – selected by Oglander and Cole –as inspiration for recent works by Oglander. While King often translates everyday objects and phenomena into flattened abstractions, Oglander teases the forms back into the third dimension. Arranged here as a conversation across time and space between the two artists, By Golly elucidates shared concerns, obsessions, and visual themes between differing bodies of work. Born in 1951 in Te Aroha, New Zealand, Susan Te Kahurangi King began drawing from a young age, recognized early for her artistic prowess. By the time she was seven, King had entirely stopped speaking, but she continued to draw prolifically, developing a unique visual language where pop-culture figures including Mickey Mouse, Donald Duck, and others were stretched, chopped, and otherwise distorted into complex and precisely rendered compositions. After a brief period in the 1990s and early 2000s where she stopped producing artwork, King returned to her practice in 2008. In the more recent drawings exhibited here, the chaotic geometry that long surrounded her early figures becomes the foreground, in what could be taken as a radical progression of her subjects’ fragmentation. Oglander’s work likewise reveals a fascination with the possibilities of warping and bending quotidian objects or commonplace signs. Born and raised in Tennessee, his work imparts a sense of both possibility and danger inherent equally to childhood science experiments and sojourns through the backcountry. Combining natural objects like wax or wood with everyday industrial materials such as shirt fabrics, coins, or cardboard, his minimal sculptures deploy subtle optical or tactile gestures to appear at once happenstance and painstakingly crafted. When viewed together, formal similarities come into focus, despite the two artist’s vastly different mediums. An obsession with the possibility of the line is manifested across both bodies of work, whether drawn, found, sewn, or stretched. King deftly renders a variety of wood grain patterns in two drawings from 1966, while Oglander explores the same variety by combining sticks, scraps of plywood and lumber, and taut shirt fabrics stretched to distort their precise patterns. More conceptually, the artists share a desire to explore and illustrate the concept of tension. In many drawings, King’s figures are stretched or wrenched past the point of a body’s natural capacity, and even her most abstract elements toe the line between order and chaos. Similarly, Oglander’s sculptures, particularly the trebuchets or those involving nylon string and found street sweeper bristles, often freeze the moments just before a tenuous spatial arrangement tips over into total collapse. Underneath a surface of precise craftsmanship, both artists call into presence the fundamental pliability of the worlds both surrounding us and interior to our own experience, a pliability both exhilarating and terrifying to encounter. About Susan Te Kahurangi King: Susan Te Kahurangi King was born in 1951 in Te Aroha, New Zealand. The second eldest of twelve children, she began drawing from a young age. King’s artistic abilities only increased with time; her teachers remarked on her renderings of complicated figures and her ability to concentrate on drawing for hours at a time. At five years old, King’s speech began to decline, and by the age of seven she had stopped speaking entirely. As her speech lessened, King’s commitment to drawing only increased. Even at seven years old, she was prolific and showed great promise as an artist. In 1960, King’s family moved to Auckland for King to attend a newly established IHC school for children with learning disabilities, which she attended for almost three decades. Into adulthood, King developed a mode of deconstructing and expanding figures, incorporating characters like Mickey Mouse, Donald Duck, Cruella de Vil into elaborate, multi-planar scenes. She continued to make drawings until the early 1990s, when, during a difficult period, she stopped drawing altogether. After almost two decades, King recommenced her work in 2008. Encouraged by renewed interest in her drawings and the upcoming production of Dan Salmon’s documentary, “Pictures of Susan,” she began making work in conversation with her final drawings of the nineties. In a matter of months, King had her first solo exhibition at Callan Park, Sydney, curated by Peter Faye. She swiftly went on to exhibit in Auckland, New York, and Paris, presenting her first museum exhibition at the ICA Miami in 2016. In 2018, she was awarded a Fellowship with the American Folk Art Museum (New York, NY). King’s work resides in the collections of the Museum of Modern Art (New York, NY), the American Folk Art Museum (New York, NY), the Chartwell Collection at Auckland Art Gallery (Toi o Tāmaki, New Zealand), The Arts Trust House (Auckland, New Zealand), and the Philadelphia Museum of Art (Philadelphia, PA). She lives and works in Hamilton, New Zealand. About Eric Oglander: Driven by experimentation and craft, Eric Oglander creates intimately scaled minimalist sculptures that explore subtle optical and scientific phenomena. Using everyday materials like string, plywood, branches, metal, and found objects that unify and neutralize, rendering the newly formed objects into a coherent whole thought. The resulting works each possess an airiness and delicate quality. While most of his sculptures exist purely for their aesthetic value, some are capable of throwing small projectiles. These Trebuchets and Catapults pieces stem from Eric's childhood fascination with medieval siege engines discovered while watching the History Channel. They now embody his mature artistic practice, balancing play, physics, and visual appeal through a lens of enduring childlike wonder. Recent solo exhibitions of Oglander’s work include Do Nothing Machine at Bernheim Gallery (London, UK) and To Ward at Swivel Gallery (Saugerties, NY). https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445126154-U37KRHNMJXQEHEKVR61B/oglander_king+small-01.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445126416-7JZJ8YTIBRBSDMD9BTHD/oglander_king+small-02.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445128446-6H966BGHUMOCN8W9OEZ6/oglander_king+small-03.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445128917-4CEDCDAZNGR7X4CQE5B2/oglander_king+small-04.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445131209-FR94MTKZ39PO2QB6O9Q7/oglander_king+small-06.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445132827-F7BJ2HT3WU955PZ6OQYZ/oglander_king+small-07.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445133357-V9HX95594GFGBD3VGQQD/oglander_king+small-08.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445135030-L0CGG2J5DSYNROQH9B0N/oglander_king+small-09.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445135802-WGHAHYVMDO6UPXLRPD7V/oglander_king+small-10.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1760038663185-50LGVBDJORDXWZNM9MKY/DSC03607.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1760038686438-BMIHQX3C5AGB1C9MS6Q0/DSC03750.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1760039129369-M1CNZX1TITCGFYHOML32/DSC03633.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445140224-MTLQSGZ8Z3ZQ6GEH5CYC/oglander_king+small-14.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445142773-5ITW4JDAUNBEQ2DS8F6V/oglander_king+small-15.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445143092-GKBLJAFHERU3BC9KEMP8/oglander_king+small-16.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445145590-9OXLT1PQ840K3CZE2KR3/oglander_king+small-17.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445146031-LPR7EV56H3443QQXNROJ/oglander_king+small-18.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445147720-AMYIV50JDP8J227BFVNZ/oglander_king+small-19.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445148214-GDYWZNE32E2L0JGOX6WY/oglander_king+small-20.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445149997-SMD5XIGWQ0CT4FV7OUDJ/oglander_king+small-21.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445150360-PF4FOZKFY9M037DNSS16/oglander_king+small-22.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445151565-GZH2QXM7FS15PKE8GPRY/oglander_king+small-23.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445152212-S1KJDZRMVSNK5WVBHAAN/oglander_king+small-24.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445152844-HPC0GRO8KXSYIBPP8PYM/oglander_king+small-25.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445153757-98Z5YAS4N3DHKR0QNCIV/oglander_king+small-26.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445155177-0LB88HA32RS35T78NK8R/oglander_king+small-27.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445156055-TP4LGKYYIVHOCVCPTXCO/oglander_king+small-28.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445157219-FM4USTGAQO53ULRHWHQ8/oglander_king+small-29.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445157944-FXY0OI0EL3I4A0CL9CYE/oglander_king+small-30.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445158909-UJMVJUR9WQ8R71V6PJ4Y/oglander_king+small-31.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754445160148-HQ6EYD5JVUBNV51HJQ7B/oglander_king+small-32.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Installation views of Susan Te Kahurangi King and Eric Oglander, By Golly, 2025. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754511528360-1DQRXGARSR8XTBLNMALR/Screenshot+2025-08-06+at+4.18.41%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Susan Te Kahurangi King, Untitled, c. 1965-1975, graphite and ink, scrapbooked by Myrtle Murphy, King’s grandmother, 10 ¾ x 8 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754511226953-ZGAW9UT6F6D42TP7MV06/A30233_included+is+it_s+verso+of+the+other+drawing.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Susan Te Kahurangi King, Untitled, c. 1965-1975, graphite and ink on found paper (3-column editing template, Cranwells Publishing Co), 12 ⅜ x 7 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754511273451-JQ9A37UV50NRMC6FSPHN/A30234_SamH_DSF2980_Thumbnail+image.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Susan Te Kahurangi King, Untitled, c. 1965-1975, graphite and ink on found paper (3-column editing template, Cranwells with pre-existing handrwitten text “VJ”), 12 ⅜ x 9 ⅞ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754511590927-Q0TRV3LRJCZUZXZSAW9K/Screenshot+2025-08-06+at+4.19.45%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Susan Te Kahurangi King, Untitled, c. 1975-1979, graphite, colored pencil, and crayon on paper (double-sided), 16 ½ x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754511645060-R30KGMYP2JZ45YOMNAA6/D04044_Aug+1966_26+x+20.5+cm.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Susan Te Kahurangi King, Untitled, 1966, ink on paper, 10 ¼ x 8 ⅛ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754511653791-Z8I3HH4G8SFU6SW1M8YA/D04045_Aug+1966_26+x+20.5+cm.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Susan Te Kahurangi King, Untitled, 1966, ink on paper, 10¼ x 8 ⅛ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754511311601-VQEKXWOWZNB71RUCP3IY/NEWA32615_29.7+x+42+cm_IMG_0501.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Susan Te Kahurangi King, Untitled, c. 2016, graphite and ink on paper, 11 ¾ x 16 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754511293138-4ZYPAVE9NRUZ2R4RU7UY/NEWA36808_IMG_0522.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Susan Te Kahurangi King, Untitled, 2022, graphite and ink on paper, 11 ¾ x 16½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754511575825-9O2SYLMG161R2B4A3L29/Screenshot+2025-08-06+at+4.19.28%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Susan Te Kahurangi King, Untitled, c. 1969, graphite and colored pencil on paper, 8 ⅛ x 10 ⅛ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754511337457-2XCHOKLEZ68YIS1DU94I/A30105_28.5+x+29+cm_See+Mickey_s+spring+_+coil+wrists_hands_like+the+coil+antennae+on+the+Z+Buzzy+Bee+toy_See+also+the+spiky+legs+like+weta+legs.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Susan Te Kahurangi King, Untitled, 1969, graphite on calendar, 11 ¼ x 11 ⅜ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1760039291269-D5PLZ9Y16LSTF4QJQDA6/D01030_29.3+x+21+cm_Hook%2C+also+has+zippers.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Susan Te Kahurangi King, Untitled, c. 1966. Graphite on paper, 11 1⁄2 x 8 1⁄4 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754511323694-ZEXNMO7CKWF4I5K3LB9I/MEAT+MINCER%29D10005_21.1+x+17.6+cm.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Susan Te Kahurangi King, Untitled, c. 1976-1980, graphite, colored pencil, and crayon on found paper, 8 ¼ x 6 ⅞ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507066802-ZSGS0QG6W70ZG488VQ0W/DSC02869.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Collage, 2024, plywood, poplar, paper, cardboard, 3 ⅞ x 3 ½ x 1 ⅝ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754588948198-5994BBON8X4O6D1G0FJU/DSC02893.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, footing, 2025. Pine, fabric from button down shirt, beeswax, folded penny, 6 x 2 x 2 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508589406-7RKPDWV51Y1DHYNW29E4/Screenshot+2025-08-06+at+3.29.43%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Locusts, 2022,
black locust, paper, 2 x 4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507147419-V474OFHAYKT03LPMMUZQ/DSC02826.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Gust, 2024 - 2025, pine, fabric from button down shirt, goatskin, 4 ⅛ x 6 ½ x 3 ¼ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754506963119-0747ONQ5M1USCIWGAHZM/DSC03009.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Frog lure, 2025, pine, street sweeper bristles, dog fur, wire, epoxy, enamel paint, 3 ¼ x 3 x 1 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508673761-9HHS2SWTN18IOFSGQV6H/Screenshot+2025-08-06+at+3.31.08%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, 1977/1811, 2024,
19th century book, quarter, 4 ⅜ x 6 ⅞ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508736171-OA6L068L9N70C062FEVR/Screenshot+2025-08-06+at+3.32.10%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, One of these things is not like the other, 2025, plywood, fabric from button down shirt, epoxy, beeswax, 4 ¼ x 5 ¼ inches each https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508793735-EHFOG0IM3HJZ30FIW4ZY/Screenshot+2025-08-06+at+3.33.08%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Insect Drawing, 2025, plywood, fabric from bed sheet, hornets nest, 13 ¾ x 15 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754506990911-DKMYW2DZS73TI1UFIAKW/DSC02986.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Same but different, 2024, plywood, fabric from button down shirt, pine, 5 ⅛ x 5 ⅞ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507320846-9G2F86YIWX2D4UDHGOVK/DSC02693.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, 1972, 2025, plywood, epoxy, quarter, acrylic paint, 3 ½ x 5 ¼ x ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507296968-51OE1DQMFVE1SWW75ENV/DSC02735.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Who’s catching who, 2025, pine, linen from bed sheet, street sweeper bristle, nylon string, stainless steel, 4 ¼ x 4 ¾ x 3 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508915073-4CTXDOVU6PNL8WECTZFF/Screenshot+2025-08-06+at+3.35.09%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Rule of balance, 2025, poplar, copper, pennies, paper, enamel paint, 3 ½ x 1 ⅛ x 3 ⅛ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507115837-JW6SUELZF3X1RURX5U2U/DSC02849.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Snag, 2025,
poplar, street sweeper bristle, nylon string, stainless steel, fabric from t-shirt, 8 x 5 x 1 ⅜ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507281436-11KEC39IQ08N043RUKVO/DSC02668.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Dromedary, 2023, pine, plywood, epoxy, acrylic paint, 4 ¾ x 3 ½ x 4 ¼ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507216644-SAJGN666UCB1VV0SKS5T/DSC02765.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Broken twice, split, nailed, 2023, poplar, mulberry, nail, fabric from button down shirt, acrylic paint, 5 x 3 ½ x 3 ⅝ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754509100944-462589BO24KRPZB3A540/Screenshot+2025-08-06+at+3.38.14%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Plants split, plants chewed 2, 2025, split ash, hornets nest, 7 ⅞ x 7 ¾ x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754506876634-NPCD7VX946B2C8S9U8JM/DSC02638.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Clones, 2025, poplar, fabric from bed sheet, fabric from button down shirt, paper, acrylic paint, epoxy, bamboo skewers, 6 x 2 ½ x 2 ⅜ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507346249-W3V98OMMCOPJCD97WPKE/DSC02639.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, What’s there, 2025, pine, enamel paint, 3 ¼ x 5 ⅞ x 1 ¼ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754509193750-OM6BW1YVYQ9QEBQ6A1V0/Screenshot+2025-08-06+at+3.39.47%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Branch Eyes, 2025, pine, fabric from button down shirt, snake bark maple, 11 ¼ x 12 ⅝ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754509265186-01ZUL15KNETX6CCDBEFT/Screenshot+2025-08-06+at+3.40.57%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Cord, 2025, plywood, maple, fabric from button down shirt, 18 x 18 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754509335197-H019U87PNVLJJXDGWF16/Screenshot+2025-08-06+at+3.42.09%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Disney Stickers, 2025, plywood, linen from bed sheet, paper, cyanotype, 11 ½ x 12 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754506976667-M8H11S6R12LJ7IT2YPHT/DSC03000.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, 1st lure, 2025, honeysuckle, street sweeper bristles, wire, epoxy, dog fur, fabric from button down shirt, quarter, aluminum, nails, nylon string, 10 x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507273113-MYFHEDQC1U3D4Z67403V/DSC02737.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Halves, 2023, maple, poplar, linen from bed sheet, 6 x 4 ½ x 1 ⅛ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754506944748-4SXJSPYKZGXC8OVF5N5P/DSC03093.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Windsor chair/stool from Caroline Seagrave, my dead downstairs neighbor. Meat grinder. 17 ⅜ x 22 ⅞ x 17 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507381127-T1CMF2T16NP1QP84L3FM/DSC02630.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Paper three ways, 2025, paper, hornets nest, plywood, poplar, 5 x 2 ¾ x 3 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507366173-YMEBA9LAFLTKGJZT3YVC/DSC02664.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Whittle, 2023, split ash, paper, pine, poplar, acrylic paint, 2 ⅛ x 2 ⅞ x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754506924754-R25IJRR295BJ7T8XOCZY/DSC02933.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Keeper of any time, 2025, plywood, fabric from button down shirt, pine, copper, wire, nails, chime from antique clock, street sweeper bristle, 9 ⅜ x 8 ½ x 5 ⅜ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507346270-JJJANAX7KSNJSKEYW9VF/DSC02646.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, It’ll be fun, 2023, pine, fabric from button down shirt, acrylic paint, 4 ¾ x 2 ⅜ x 4 ⅛ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507214071-WF5BY3HAVSSHG7NI71N4/DSC02770.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Only with a sharp knife, 2024, pine, plywood, paper, cyanoacrylate glue, 2 ½ x 5 ⅛ x 1 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507080122-JX3SNH0JOTII7Z1RZXFM/DSC02856.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, My mom taught me how to make a paper airplane, 2024, plywood, poplar, goatskin, acrylic paint, 5 ⅝ x 6 ⅞ x 3 ⅜ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507186290-K5615786A6GOJ5O8AGMN/DSC02779.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Three taught, 2025, poplar, wire, street sweeper bristles, nylon string, 3 ¾ x 7 ⅝ x 2 ⅝ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754506959945-8KM9QP7R3VTBNZPJOOH2/DSC03061.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Bad neighbor, 2021 - 2025,
plywood, mahogany, epoxy, wire, nylon string, leather bamboo, brass, acrylic paint, 17 ⅛ x 38 ½ x 7 ⅝ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507297747-73TJSTL4DQCV2IP33IT5/DSC02711.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Flight to void, 2023, poplar, plywood, fabric from t-shirt, acrylic paint, bamboo skewers, 6 x 2 ⅜ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507181941-N6IFM9QO0G7XQ2V1SI5L/DSC02816.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, The Christmas tree, 2023, poplar, willow, bamboo skewers, acrylic paint, 5 ¾ x 8 ¼ x 1 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754506912550-6CRO55VQ09UGBTBI6YN3/DSC02804.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, 9/4’s, 2025, pine, brass, quarters, enamel paint, 4 ⅜ x 4 ⅝ x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754509569385-GRQ595CLG8XXGORBLHU2/Screenshot+2025-08-06+at+3.46.04%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander Eric Oglander, Lawn Chair (launcher), 2020 - 2025,
found child’s chair, wood from oak crutch, Kevlar string, leather from baseball glove, bicycle inner tube, rope, metal hardware, quarters, misc. wood, zip ties, acrylic paint, 21 x 35 ½ x 14 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507320997-GZ4TP224YQC56XFPTY42/DSC02690.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Split mulberry filled with paper, 2023, poplar, mulberry, paper, fabric from t-shirt, 4 ¾ x 3 ¼ x 3 ⅛ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507139844-MX8151PP1OTJHIE3I32A/DSC02833.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Waffling, 2023, pine, fabric from button down shirt, street sweeper bristle, acrylic paint, 5 ¼ x 4 ⅜ x 4 ⅛ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507101402-N2U5DX49PQY7E3UY4YP6/DSC02842.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Weight of pine, 2023, pine, nails, epoxy, mulberry, acrylic paint, 5 ⅛ x 5 ⅛ x ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754509733136-U8H8ZUK8Z2LNPYLY9ZSJ/Screenshot+2025-08-06+at+3.48.48%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Torsion, 2025, plywood, fabric from button down shirt, pine, metal hardware, bamboo, nylon string, copper, linen from bed sheet, acrylic paint, 7 x 4 ⅜ x 14 ¼ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507241573-7BEVWCLFD6YBKOMA3QP9/DSC02759.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Split drop, 2024, plywood, sycamore, linen from bed sheet, goatskin, acrylic paint, split ash, nylon string, 2 ½ x 7 ½ x 2 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507249990-0I381O7IAC9RRHAQAJ9W/DSC02749.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Hotdog down a crawdad hole, 2024 - 2025, pine, nylon string, street sweeper bristle, epoxy, India ink, enamel paint, 5 ⅜ x 4 ⅞ x 3 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754509839063-0CSWD7RC4ECQ6CJY84M0/Screenshot+2025-08-06+at+3.50.33%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Sixth stops time, 2024, plywood, fabric from t-shirt, poplar, enamel paint, 15 x 7 ⅜ x 4 ⅝ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507371222-PJHEY7BCJJFD4N5CXTFN/DSC02681.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Homage to the once useful, 2025, mahogany, fabric from t-shirt, toothpicks, poplar, bamboo skewers, fabric from button down shirt, acrylic paint, 7 x 5 x 3 ⅛ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754507011605-J91ZB5GIOHXS0WMDR1X3/DSC02981.jpg Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Nine Squares, 2022, spruce roots, acrylic paint, glue, 7 x 7 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754509952405-ZUWTNB89UR8EBCKRUA1E/Screenshot+2025-08-06+at+3.52.25%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Orb, 2025, plywood, fabric from button down shirt, enamel paint, linseed oil, 5 ½ x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754509930314-HV1BEMDICBFW9O2SBFP3/Screenshot+2025-08-06+at+3.52.04%E2%80%AFPM.png Exhibitions: Susan Te Kahurangi King and Eric Oglander - Eric Oglander, Poplar viewer, 2022, poplar, paper, 3 ⅝ x 5 ½ inches https://www.institute193.org/exhibitions-marcus-dunn daily 0.75 2025-09-03 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754255138532-N1CZ1N3V528A66SKW9IJ/DSC03170.jpg Exhibitions: Marcus Dunn - Marcus Dunn, Over Land and Sea, 2025. Acrylic on canvas, 24 x 30 inches. Marcus Dunn Outings July 25 - September 6, 2025 215 N Limestone The Carlisle Indian Industrial School opened in 1879, the latest in a line of educational experiments which sought, with varying degrees of viciousness, to assimilate Native American children into the Euro-centric society rapidly spreading across the continent. Carlisle quickly became the model for a massive Federal program of boarding schools for Native youth administered by the Bureau of Indian Affairs, which grew to include hundreds of such schools across the next century. North Carolina based painter Marcus Dunn, of Tuscarora and non-native descent, has spent years scouring archives for images of these boarding schools, and related forms of assimilationist educational practices, transforming such images into richly textured impressionist paintings and giving presence to the lives transformed by the landscapes and architecture of the boarding school system. Outings, his latest body of work, devotes particular attention to programs which brought children from the boarding schools into the surrounding communities, offering them as a cheap workforce for farms or domestic services. Ostensibly designed to give them skills to carry into their adult lives, the program quickly became understood primarily as a way for white families and businesses to benefit from unpaid child labor. Informed by his own career as a schoolteacher, as well as the present-day work of his Tuscarora community to retain and rebuild their own cultural traditions and lifeways, Dunn’s paintings exude a deep sympathy and respect for the lives of his subjects. Whether depicted in classroom settings, or on the titular “outings”, the children Dunn portrays are complex and multifaceted, displaying the defiance, uncertainty, and sensitivity likely familiar to all from one’s own childhood. Works like Pool Hall or Three-Legged Race show children stealing moments of joy and self-definition back from their overseers, searching for ways to discover their own identity, collective and individual, within the system of assimilation imposed upon them. A longing for escape is perhaps the throughline that ties together each of these paintings, whether openly marking the faces of the children, or masked and disguised for their own protection. Dunn’s work gives view to a vast historical project, beginning with proto-boarding schools from as early as the 1820s, through the formation of the federal boarding schools at the turn of the century, on into their mid-century proliferation, and then their eventual decline in the 1980s as Tribal governments clawed back control and self-determination of their educational systems. Across the years, children in these schools often found the homes and communities they so yearned to return to transformed in their absence, a transformation which they bore in their own beings as well. Dunn’s tender portrayal of these transformations carries deep relevance to the contemporary moment, as questions over tribal sovereignty continue, political fear and assimilationist urges towards migrants and refugees grows, and prison labor programs carry forward the legacy of exploitation begun by the outings programs. Without providing simple resolutions, Dunn’s work re-endows the human lives at the center of such socio-political issues with a presence and voice that is all too often lost. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754255138532-N1CZ1N3V528A66SKW9IJ/DSC03170.jpg Exhibitions: Marcus Dunn - Marcus Dunn, Over Land and Sea, 2025. Acrylic on canvas, 24 x 30 inches. Marcus Dunn Outings July 25 - September 6, 2025 215 N Limestone The Carlisle Indian Industrial School opened in 1879, the latest in a line of educational experiments which sought, with varying degrees of viciousness, to assimilate Native American children into the Euro-centric society rapidly spreading across the continent. Carlisle quickly became the model for a massive Federal program of boarding schools for Native youth administered by the Bureau of Indian Affairs, which grew to include hundreds of such schools across the next century. North Carolina based painter Marcus Dunn, of Tuscarora and non-native descent, has spent years scouring archives for images of these boarding schools, and related forms of assimilationist educational practices, transforming such images into richly textured impressionist paintings and giving presence to the lives transformed by the landscapes and architecture of the boarding school system. Outings, his latest body of work, devotes particular attention to programs which brought children from the boarding schools into the surrounding communities, offering them as a cheap workforce for farms or domestic services. Ostensibly designed to give them skills to carry into their adult lives, the program quickly became understood primarily as a way for white families and businesses to benefit from unpaid child labor. Informed by his own career as a schoolteacher, as well as the present-day work of his Tuscarora community to retain and rebuild their own cultural traditions and lifeways, Dunn’s paintings exude a deep sympathy and respect for the lives of his subjects. Whether depicted in classroom settings, or on the titular “outings”, the children Dunn portrays are complex and multifaceted, displaying the defiance, uncertainty, and sensitivity likely familiar to all from one’s own childhood. Works like Pool Hall or Three-Legged Race show children stealing moments of joy and self-definition back from their overseers, searching for ways to discover their own identity, collective and individual, within the system of assimilation imposed upon them. A longing for escape is perhaps the throughline that ties together each of these paintings, whether openly marking the faces of the children, or masked and disguised for their own protection. Dunn’s work gives view to a vast historical project, beginning with proto-boarding schools from as early as the 1820s, through the formation of the federal boarding schools at the turn of the century, on into their mid-century proliferation, and then their eventual decline in the 1980s as Tribal governments clawed back control and self-determination of their educational systems. Across the years, children in these schools often found the homes and communities they so yearned to return to transformed in their absence, a transformation which they bore in their own beings as well. Dunn’s tender portrayal of these transformations carries deep relevance to the contemporary moment, as questions over tribal sovereignty continue, political fear and assimilationist urges towards migrants and refugees grows, and prison labor programs carry forward the legacy of exploitation begun by the outings programs. Without providing simple resolutions, Dunn’s work re-endows the human lives at the center of such socio-political issues with a presence and voice that is all too often lost. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752601948613-8I8T2YATLJ6IX6TZDOKY/image-asset.jpg Exhibitions: Marcus Dunn - Marcus Dunn, Over Land and Sea, 2025. Acrylic on canvas, 24 x 30 in. Marcus Dunn Outings June 25 - September 6, 2025 215 N Limestone The Carlisle Indian Industrial School opened in 1879, the latest in a line of educational experiments which sought, with varying degrees of viciousness, to assimilate Native American children into the Euro-centric society rapidly spreading across the continent. Carlisle quickly became the model for a massive Federal program of boarding schools for Native youth administered by the Bureau of Indian Affairs, which grew to include hundreds of such schools across the next century. North Carolina based painter Marcus Dunn, of Tuscarora and non-native descent, has spent years scouring archives for images of these boarding schools, and related forms of assimilationist educational practices, transforming such images into richly textured impressionist paintings and giving presence to the lives transformed by the landscapes and architecture of the boarding school system. Outings, his latest body of work, devotes particular attention to programs which brought children from the boarding schools into the surrounding communities, offering them as a cheap workforce for farms or domestic services. Ostensibly designed to give them skills to carry into their adult lives, the program quickly became understood primarily as a way for white families and businesses to benefit from unpaid child labor. Informed by his own career as a schoolteacher, as well as the present-day work of his Tuscarora community to retain and rebuild their own cultural traditions and lifeways, Dunn’s paintings exude a deep sympathy and respect for the lives of his subjects. Whether depicted in classroom settings, or on the titular “outings”, the children Dunn portrays are complex and multifaceted, displaying the defiance, uncertainty, and sensitivity likely familiar to all from one’s own childhood. Works like Pool Hall or Three-Legged Race show children stealing moments of joy and self-definition back from their overseers, searching for ways to discover their own identity, collective and individual, within the system of assimilation imposed upon them. A longing for escape is perhaps the throughline that ties together each of these paintings, whether openly marking the faces of the children, or masked and disguised for their own protection. Dunn’s work gives view to a vast historical project, beginning with proto-boarding schools from as early as the 1820s, through the formation of the federal boarding schools at the turn of the century, on into their mid-century proliferation, and then their eventual decline in the 1980s as Tribal governments clawed back control and self-determination of their educational systems. Across the years, children in these schools often found the homes and communities they so yearned to return to transformed in their absence, a transformation which they bore in their own beings as well. Dunn’s tender portrayal of these transformations carries deep relevance to the contemporary moment, as questions over tribal sovereignty continue, political fear and assimilationist urges towards migrants and refugees grows, and prison labor programs carry forward the legacy of exploitation begun by the outings programs. Without providing simple resolutions, Dunn’s work re-endows the human lives at the center of such socio-political issues with a presence and voice that is all too often lost. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754255238211-F9JVRFKV9B4V39D2MACH/DSC03178.jpg Exhibitions: Marcus Dunn - Marcus Dunn, Sewing Class, 2025. Acrylic on canvas, 24 x 30 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754255262749-3LCR9S4Z66YU5DN1NHKY/DSC03180.jpg Exhibitions: Marcus Dunn - Marcus Dunn, Gathering His Thoughts, 2025. Acrylic on panel, 18 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754255270759-2EE5N3PVWT0XE99BQEXQ/DSC03181.jpg Exhibitions: Marcus Dunn - Marcus Dunn, Filing In, 2025. Acrylic on canvas, 30 x 48 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754255277465-87UQ4EED5NFXJH5MDU0X/DSC03163.jpg Exhibitions: Marcus Dunn https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754255285671-5LG4WOZ84JJQ6RLK56GQ/DSC03171.jpg Exhibitions: Marcus Dunn - Marcus Dunn, Making Rows, 2025. Acrylic on canvas, 36 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1756913534997-4ORPF1QQUR901KPCBFXG/Screenshot+2025-09-03+at+11.31.59%E2%80%AFAM.png Exhibitions: Marcus Dunn - Marcus Dunn, Pool Hall, 2025, acrylic on canvas, 24 x 36 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754255528807-P1C5N7X4TKUT27ICEQ8C/DSC03222.jpg Exhibitions: Marcus Dunn - Marcus Dunn, The Outing, 2025. Acrylic on canvas, 18 x 14 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1752601996267-XZJMCE2OHYSTHDI7P7IO/Copy+of+Piano.jpeg Exhibitions: Marcus Dunn - Marcus Dunn, Piano, 2025. Acrylic on canvas, 36 x 23 1⁄2 in. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754255681964-03LCCNKEE53KDM25N6NZ/DSC03183.jpg Exhibitions: Marcus Dunn - Marcus Dunn, Farm Boys, 2025. Acrylic on canvas, 18 x 14 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754255682576-SUEM4J1WF29ROJ28IADI/DSC03184.jpg Exhibitions: Marcus Dunn - Marcus Dunn, Preparing the Room, 2025. Acrylic on canvas, 36 x 27 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754255687920-OF8ZRDE6NEMKEXV6J7FU/DSC03187.jpg Exhibitions: Marcus Dunn - Marcus Dunn, Blue Shirt, 2023. Acrylic on panel, 12 x 9 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754255687804-VPWW5COZRQHYWVEUV9SQ/DSC03188.jpg Exhibitions: Marcus Dunn - Marcus Dunn, Three-Legged Race, 2025. Acrylic on canvas 16 x 20 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754255690801-BKZ89WEX8MFZE2EIU8X3/DSC03192.jpg Exhibitions: Marcus Dunn - Marcus Dunn, Please Check All Packages at Front Register, 2025. Acrylic on panel. 24 x 30 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754255694003-C6PFSWOG80Z9GQLAJ27G/DSC03195.jpg Exhibitions: Marcus Dunn - Marcus Dunn, Sunny Afternoon, 2025. Acrylic on canvas 20 x 16 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754254895229-TJ6EWJWQ3E3C594SXCI8/DSC03230.jpg Exhibitions: Marcus Dunn https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754254895383-OBHBT6PX25OY64FDV91E/DSC03233.jpg Exhibitions: Marcus Dunn https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754254900646-JBMOVWBE0IAY1OPSXG03/DSC03239.jpg Exhibitions: Marcus Dunn https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754254900705-KIHXR01RCLWEDCBUBGRE/DSC03257.jpg Exhibitions: Marcus Dunn https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754254904217-9NKY5J3I8Y4DECGCCNSD/DSC03278.jpg Exhibitions: Marcus Dunn https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754254904263-MX6ZVLHQ8R5OL0BZI4G4/DSC03284.jpg Exhibitions: Marcus Dunn https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754254907389-WZLMW5E0K04HHB0AODHG/DSC03307.jpg Exhibitions: Marcus Dunn https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754254908105-87NH9TVJNXDC81SDUV54/DSC03323.jpg Exhibitions: Marcus Dunn https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754254910145-9Y76FUZJ93OVB4NI5W0Z/DSC03328.jpg Exhibitions: Marcus Dunn https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754254911131-9F8R85KAKW2EIS3BH4XT/DSC03338.jpg Exhibitions: Marcus Dunn https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754254913707-O7LJ0LOUAUOTJ6WHYG5O/DSC03341.jpg Exhibitions: Marcus Dunn https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754254914017-32YFQ3MKC9CM0SBIV3BC/DSC03401.jpg Exhibitions: Marcus Dunn - Installation views of Marcus Dunn, "Outings", 2025. https://www.institute193.org/off-site-carey-neal-gough daily 0.75 2025-08-06 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291292967-LIHI4EF4MMY6TDJU9224/Heading_Home.jpg Off Site: Carey Neal Gough - Carey Neal Gough, Heading Home, 2025. Gum bichromate print, 14 x 11 inches. Carey Neal Gough HORSEDREAMER Mulberry and Lime - Lexington, KY July 18 - August 30, 2025 For this incarnation of my Horsedreamer series, I’ve returned to the darkroom—specifically, to the slow, alchemical process of gum bichromate printing—to reimagine my ongoing photographic pursuit of horses. These images, rooted in dream, memory, and the mythic presence of horses in the landscape, resist the clarity and precision of the digital. Gum printing leaves more room for magic and the unexpected. It’s a process built on layers, time, and chance. No two prints are the same. Gum bichromate printing is a 19th-century photographic process traditionally used by Pictorialist photographers to create painterly, expressive images. It involves coating paper with a light-sensitive mixture of gum arabic, dichromate, and pigment, then contact printing it with a negative and exposing it to UV light. After exposure, the print is developed in water, revealing an image that can be built up through multiple layers. The process is slow, physical, and highly personal—each print is unique. Each print begins with a cyanotype base, over which layers of pigment are hand-applied and exposed to light. The full process can take several days. Its unpredictability feels true to the dreamspace I’m trying to depict—a place where the seen and the felt, the remembered and the imagined, blur into one another. Did I know that horse, or did I dream her? Was the sky pink that day—or was it purple? By letting go of mechanical perfection, I’ve found a more faithful way to express the emotional and intuitive core of these photographs. The horses in my prints emerge as a fusion—part the vivid, fantastical ones of my childhood, conjured from films, Saturday morning cartoons, and the pocket-sized plastic ponies I played with; part the real animals that are abundant in the Kentucky landscape where I grew up. In these images, the imagined and the actual entwine—and in their union, something deeper is revealed. This work is about longing, about slowness, and about the persistent echo of the natural world in our inner lives. It’s about honoring the magic that feels so accessible in childhood, even as nearly every aspect of adulthood seems intent on pressing it out. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291056725-9TWQUYFGTDXB4P206UJK/Heading_Home.jpg Off Site: Carey Neal Gough https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291292967-LIHI4EF4MMY6TDJU9224/Heading_Home.jpg Off Site: Carey Neal Gough - Carey Neal Gough, Heading Home, 2025. Gum bichromate print, 14 x 11 inches. Carey Neal Gough HORSEDREAMER Mulberry and Lime - Lexington, KY July 18 - August 30, 2025 For this incarnation of my Horsedreamer series, I’ve returned to the darkroom—specifically, to the slow, alchemical process of gum bichromate printing—to reimagine my ongoing photographic pursuit of horses. These images, rooted in dream, memory, and the mythic presence of horses in the landscape, resist the clarity and precision of the digital. Gum printing leaves more room for magic and the unexpected. It’s a process built on layers, time, and chance. No two prints are the same. Gum bichromate printing is a 19th-century photographic process traditionally used by Pictorialist photographers to create painterly, expressive images. It involves coating paper with a light-sensitive mixture of gum arabic, dichromate, and pigment, then contact printing it with a negative and exposing it to UV light. After exposure, the print is developed in water, revealing an image that can be built up through multiple layers. The process is slow, physical, and highly personal—each print is unique. Each print begins with a cyanotype base, over which layers of pigment are hand-applied and exposed to light. The full process can take several days. Its unpredictability feels true to the dreamspace I’m trying to depict—a place where the seen and the felt, the remembered and the imagined, blur into one another. Did I know that horse, or did I dream her? Was the sky pink that day—or was it purple? By letting go of mechanical perfection, I’ve found a more faithful way to express the emotional and intuitive core of these photographs. The horses in my prints emerge as a fusion—part the vivid, fantastical ones of my childhood, conjured from films, Saturday morning cartoons, and the pocket-sized plastic ponies I played with; part the real animals that are abundant in the Kentucky landscape where I grew up. In these images, the imagined and the actual entwine—and in their union, something deeper is revealed. This work is about longing, about slowness, and about the persistent echo of the natural world in our inner lives. It’s about honoring the magic that feels so accessible in childhood, even as nearly every aspect of adulthood seems intent on pressing it out. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291311543-G89A4MMS2ZM8W7BWMFQZ/Sage_and_the_Spindle_Tree.jpg Off Site: Carey Neal Gough - Carey Neal Gough, Sage and the Spindle Tree, 2025. Gum bichromate print, 11 x 14 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291523164-7RUSESEX1LMD56W4K6JP/A_Horn_is_not_Necessary-2.jpg Off Site: Carey Neal Gough - Carey Neal Gough, A horn is not necessary to be magic, 2025. Gum bichromate print, 11 x 14 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291285777-KRM3XVZ9V09SMFYDIPSN/A_Curve_in_the_Landscape.jpg Off Site: Carey Neal Gough - Carey Neal Gough, A Curve in the Landscape, 2025. Gum bichromate print, 14 x 11 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291322106-KL4C4P0KZ5IE942K9A0F/Swishing_tails_and_long_Shadows.jpg Off Site: Carey Neal Gough - Carey Neal Gough, Swishing Tails and Long Shadows, 2025. Gum bichromate print, 14 x 11 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291298219-2UPJPKORC2IA5CON8EI0/Macarena_%26_Shortcake_used_to_Be_Inseparable.jpg Off Site: Carey Neal Gough - Carey Neal Gough, Macarena and Shortcake Were Once Inseparable, 2025. Gum bichromate print, 14 x 11 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291325025-P2CKTO8470JZCDUWK418/Tango_Sunrise.jpg Off Site: Carey Neal Gough - Carey Neal Gough, Tango Sunrise, 2025. Gum bichromate print, 11 x 14 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291288228-E6776NVBPKA6BP7UHGH7/Apollo.jpg Off Site: Carey Neal Gough - Carey Neal Gough, Apollo, 2025. Gum bichromate print, 14 x 11 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291309209-PMBXE25BOQSQAWDYGGD1/Nose_velvet_and_curious.jpg Off Site: Carey Neal Gough - Carey Neal Gough, A Nose, Velvet and Curious, 2025. Gum bichromate print, 14 x 11 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291327335-YE93I6F3DCFPW5K2C45J/The_Dream_Begins_at_Sunset.jpg Off Site: Carey Neal Gough - Carey Neal Gough, The Dream Begins, 2025. Gum bichromate, print 14 x 11 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291290634-0DWKZU7NUGSYV18QHPWB/Do_Horses_Dream.jpg Off Site: Carey Neal Gough - Carey Neal Gough, Do Horses Dream of Open Fields?, 2025. Gum bichromate print, 14 x 11 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291316222-37GCUJ1JCZSYCOLSP78C/Strawberry_Shortcake.jpg Off Site: Carey Neal Gough - Carey Neal Gough, Strawberry Shortcake, 2025. Gum bichromate print, 14 x 11 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291295672-MG9HLY5K2C5P8P8HCYTU/Kween_Of_Dreams.jpg Off Site: Carey Neal Gough - Carey Neal Gough, Kween of Dreams, 2025. Gum bichromate print, 14 x 11 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291313896-KLUJODIZRHHASVAWBB4P/Side-eye_Smidge.jpg Off Site: Carey Neal Gough - Carey Neal Gough, Side eye Smidge, 2025. Gum bichromate print, 14 x 11 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1753291319074-K8LNYAPYCL7QBHIK29F0/summer_blooms_and_summer_speckles.jpg Off Site: Carey Neal Gough - Carey Neal Gough, Summer Blooms and Summer Speckles, 2025. Gum bichromate print, 14 x 11 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508212202-JH90F12AR3KM2B77VHP9/DSC04020.jpg Off Site: Carey Neal Gough https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508228572-OZQ129EGUX4W7HL3VT42/DSC04061.jpg Off Site: Carey Neal Gough https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508212265-4NAMTWXE904ONMEYTYXD/DSC04030.jpg Off Site: Carey Neal Gough https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508215865-27L2QICIJ3G36T73XNHB/DSC04035.jpg Off Site: Carey Neal Gough https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508217328-212LX45QAJ1YQ2H2SOL6/DSC04041.jpg Off Site: Carey Neal Gough https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508222503-RMB9EZVZXICFC4KT8JCR/DSC04044.jpg Off Site: Carey Neal Gough https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508223729-8U3BWI66PRWSFXJDOO5I/DSC04045.jpg Off Site: Carey Neal Gough https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508224785-XQIFNJAZE7TCTL6V9EP9/DSC04050.jpg Off Site: Carey Neal Gough https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508226021-RF4Q0UHNRUGX3T9JNG5Q/DSC04055.jpg Off Site: Carey Neal Gough https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1754508229634-0IBZS1JPIFN1MR3ZILXH/DSC04066.jpg Off Site: Carey Neal Gough - Installation views of Carey Gough, HORSEDREAMER, 2025. https://www.institute193.org/exhibitions-dobree-adams-with-jonathan-greene daily 0.75 2025-09-18 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757092702353-WQX8RUWKYABTSYJVYOAQ/DobreeAdams+HOMAGE+TO+THE+ANCIENT+LOCUST.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, HOMAGE TO THE ANCIENT LOCUST, 2016. Archival inkjet print, 24 x 20 inches. Dobree Adams with Jonathan Greene Awe & Wonder September 13 - October 25, 2025 193 N Limestone Ranging from the canyons of Southern California, through her home along the Kentucky River, and across the Atlantic into quiet corners of rural France, the sixteen photographs presented here by Dobree Adams capture moments of startling reverence. The soft, darkened edges around many of these images function like an inhale before a careful effort. By guiding the eye, they expand perception. Each work seems to take moments that might emerge from the edge of vision, or memories at risk of slipping away – a heron at the riverbank, a cluster of stones arranged like a conversation, the reflective skin of a pond just before night falls – and hold them lovingly before us. Here, wonder is an enduring form of seeing. Light plays a central role in this presentation—sometimes grazing the surface of water with a muted gleam, sometimes dissolving into the bare branches of late winter. Through patient attention, Adams makes visible the slow rhythms that shape both landscapes and the lives we live out within them. The world seems to reveal itself most fully in these quiet moments, allowing these photographs to share strikingly unique instants, while also expanding our perception of quotidian surroundings. Poems by Jonathan Greene, accompanying these photographs in a rich, comfortable dialogue, speak of quiet rituals and returning presence. Together, photograph and verse form a layered encounter, with the concise precision of Greene’s poems echoing and enriching Adams’ exaltingly meditative gaze. In this immersive interplay between visual and verbal, Adams and Greene weave a gentle communion that winds together poet, artist, viewer, and world. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757092702353-WQX8RUWKYABTSYJVYOAQ/DobreeAdams+HOMAGE+TO+THE+ANCIENT+LOCUST.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, HOMAGE TO THE ANCIENT LOCUST, 2016. Archival inkjet print, 24 x 20 inches. Dobree Adams with Jonathan Greene Awe & Wonder September 13 - October 25, 2025 193 N Limestone Ranging from the canyons of Southern California, through her home along the Kentucky River, and across the Atlantic into quiet corners of rural France, the sixteen photographs presented here by Dobree Adams capture moments of startling reverence. The soft, darkened edges around many of these images function like an inhale before a careful effort. By guiding the eye, they expand perception. Each work seems to take moments that might emerge from the edge of vision, or memories at risk of slipping away – a heron at the riverbank, a cluster of stones arranged like a conversation, the reflective skin of a pond just before night falls – and hold them lovingly before us. Here, wonder is an enduring form of seeing. Light plays a central role in this presentation—sometimes grazing the surface of water with a muted gleam, sometimes dissolving into the bare branches of late winter. Through patient attention, Adams makes visible the slow rhythms that shape both landscapes and the lives we live out within them. The world seems to reveal itself most fully in these quiet moments, allowing these photographs to share strikingly unique instants, while also expanding our perception of quotidian surroundings. Poems by Jonathan Greene, accompanying these photographs in a rich, comfortable dialogue, speak of quiet rituals and returning presence. Together, photograph and verse form a layered encounter, with the concise precision of Greene’s poems echoing and enriching Adams’ exaltingly meditative gaze. In this immersive interplay between visual and verbal, Adams and Greene weave a gentle communion that winds together poet, artist, viewer, and world. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758230582313-7W331KU7CEHQU7H35NXY/JANUARY+VERMILION+STREAK.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, JANUARY VERMILI ON STREAK, 2023. Archival inkjet print, 24 x 20 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757092695058-H3OTFL5SS0ZRZ6V3YSZU/DobreeAdams+REFLECTED+MORNING+STORM.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, REFLECTED OCTOBER STORM, 2023. Archival inkjet print, 24 x 20 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758231003261-J9WPJIOI9RD92UPWCIBN/SUNSET+REFLECTED+IN+MAY.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, SUNSET REFLECTED IN MAY, 2023. Archival inkjet print 32 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757092698548-DLB6SSOBMGSWD88XQXY7/DobreeAdams+MONET_S+LILIES.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, MONET’S WATER LILLIES III, 2024. Archival inkjet print, 32 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758230568080-7WN6OEIXNT6MKZW28PIJ/CRIMSON+OCTOBER+GLOW+AT+DUSK.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, CRIMSON OCTOBER GLOW AT DUSK, 2012. Archival inkjet print, 24 x 20 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758230576480-FUI8W42YPTMN6D9ZEVXW/GARDEN+OF+STONES+IV+Andy+Goldsworthy.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, GARDEN OF STONES IV, 2025. Archival inkjet print, 24 x 20 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758230598418-Y9ACBWH9K4KTELQ21VMI/MONET_S+WATER+LILIES+I+.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, MONET’S WATER LILIES I, 2024. Archival inkjet print, 32 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757092699381-T824ITSO9M5KV7N2G1BC/DobreeAdams+ESSENCE+OF+RED+RIVER+GORGE.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, ESSENCE OF RED RIVER GORGE, 2016. Archival inkjet print, 24 x 20 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758230585415-SL0NNZM4QVREQC4EQJCV/MEDITATION+ROCK.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, MEDITATION ROCK, 2013. Archival inkjet print, 24 x 20 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758231347556-WD86HNTX0CWVSOZYL8AU/MONET_S+WATER+LILLIES+III.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, MONET’S WATER LILLIES III, 2024. Archival inkjet print, 32 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757092702410-G7TIQT8QE6YFIVN8PIYS/DobreeAdams+DANCING+HERON+%26+CREEPING++WATER.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, DANCING HERON & CREEPING WATER, 2021. Archival inkjet print, 24 x 20 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758231352478-NPVOEN7W0X2R9QUE0VJZ/SANTA+YNEZ+CANYON.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, SANTA YNEZ CANYON, 2024. Archival inkjet print, 24 x 20 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757092687674-PO0CMAU49PFEJQACX2LA/DobreeADams+THORONET+ABBEY+FOUNTAIN.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, THORONET ABBEY FOUNTAIN, 2024. Archival inkjet print, 24 x 20 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757092691651-MFKT4KUGRZSTLD9UPOX2/DobreeAdams+WOODLAND+REDS.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, WOODLAND REDS, 2022. Archival inkjet print, 24 x 20 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758231383534-1H1RZ625XGDFRXO3K0JU/THORONET+ABBEY+ROSETTE.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, THORONET ABBEY ROSETTE, 2024. Archival inkjet print, 24 x 20 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758231774162-YL3PJJ5H5BSUP8DPQGV3/SADO.jpg Exhibitions: Dobree Adams with Jonathan Greene - Dobree Adams, SADO, 2011. Handwoven, handspun natural colored and handpainted wool yarn, 74 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758232816561-94ITR80E3EBYICKNCOI9/DSC04263.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758232816260-VJD2EPGFU0DNYPOKX718/DSC04265.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758232817611-H9WQJU9TLWYKR3C89PS2/DSC04266.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758232818400-9DJWBY8R8AHA7115HM9U/DSC04267.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758232819211-VTUIGA7V2L6VK3DQ79T5/DSC04268.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758232819746-7V44DAO1P0QJSQ0RRS8L/DSC04269.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758232820775-GOCQACBNEGEJYC1G324X/DSC04270.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758232821571-7M0W4YDE5OQXWZFN1CNN/DSC04275.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758232822296-7AH91966N8SGJ7NA8L1B/DSC04285.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758232823173-NZURFP0ZIEZDR8FLNMW6/DSC04293.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758232824131-EWBZTK47OBK8DURNO2B9/DSC04301.jpg Exhibitions: Dobree Adams with Jonathan Greene - Installation views of Dobree Adams with Jonathan Greene, "Awe & Wonder", 2025. Included poems by Jonathan Greene: https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758233174936-FQM581A9JK2UR57MANZW/1758233079745-3ab18634-a679-4fe8-a748-42fec1d98442_1.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758233174955-I6F9ZUEVLU1HJE9XX7TT/1758233079751-53ccc92c-3a8d-4665-9a86-d44785ce20c4_1.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758233175899-YZD2MS1K97116AGGIG2O/1758233079752-d8f3faf4-34e9-4717-81e6-5758805e9150_1.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758233175961-3FCRXT4OFMT8B0HLRIAK/1758233079767-e1730f5d-771b-4e6f-b88f-16ca84b85264_1.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758233177043-CKR3N9EPW325UNZYSIRI/1758233079790-cfa09c01-3146-4ed4-8bcc-d11180b9e10d_1.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758233176882-77CGGEYH3Y03T9JRDO5N/1758233080010-5d0f036d-ed36-470f-b030-395ff34fc97f_1.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758233177909-TTASA8HU4TKHGICIZELV/1758233080468-c17994b2-9247-463f-af1e-0d7601afe4f7_1.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758233177967-VDDJT0JOX2M6R08G6O7H/1758233080472-9084c7e6-3e25-40f7-a33c-1f2e5300a2ef_1.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758233178927-6747SCP7LH4HWRG7Z8RX/1758233080475-ad208ee1-e10d-453f-bf27-d1ac9f8289eb_1.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758233179080-UXF1PB2JL8CXJIBBZ88D/1758233080478-3de09ede-38ab-4b2c-acf3-dc2c6176d9ea_1.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758233180177-CQBZAUYKRSC8XQYVPMVU/1758233080495-fb4acff5-422a-4496-b6e1-5dc491135a5b_1.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758233180320-8GOEMPFKZM35INP5B0O2/1758233080509-fe748200-1993-4cd5-9e8c-9df58e917596_1.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758233181132-O1Q4LAEB7898NN29Z93V/1758233080527-e8b2b5a1-613a-4f00-81e5-92a659289b11_1.jpg Exhibitions: Dobree Adams with Jonathan Greene https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758233181244-96I64H56DQDHSI68CFLH/1758233080534-1594711e-555d-492d-9101-a3aa8995f2e9_1.jpg Exhibitions: Dobree Adams with Jonathan Greene https://www.institute193.org/exhibitions-mauro-barreto daily 0.75 2025-09-18 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757441156535-5Y5JQW9VKRW3UISR8S3T/Barreto_9.jpg Exhibitions: Mauro Barreto - Mauro Barreto, Blake and Lacy, 2021. Inkjet print, 24 x 30 inches. Mauro Barreto Love Line September 12 - October 25, 2025 215 N Limestone Love Line, a collection of six portraits from Nashville-based photographer Mauro Barreto, explores the intangible emotional residue laced within the romance of youth. Set in unadorned, everyday environments, Barreto’s models are situated firmly in the confusing depths of longing. Not exactly posed, yet clearly aware of themselves as the object of the camera’s gaze, they inhabit zones of indistinction between profundity and frivolity, or serenity and angst. Some of Barreto’s subjects stand with shoulders hunched, hands clasped, and gazes averted or unfocused, while others implicate the photographer and viewer more directly, staring back into the camera. The relationships between them are ambiguous but intense, suggesting unclear or unfulfilled expectations, without resolving into a clear narrative. At first glance, they depict self-assured embodiment, but the bodies collapse upon perception into the artifice of performance. Looking upon these photos might make one think of their own youth (was it yesterday? last year? longer?) and remember the ache of potential which suffused even the most banal of moments. Potential which opened equally upon triumph and satisfaction as upon despair and loneliness. Some past has led to these moments, and some future awaits. But that’s hardly important now. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757441156535-5Y5JQW9VKRW3UISR8S3T/Barreto_9.jpg Exhibitions: Mauro Barreto - Mauro Barreto, Blake and Lacy, 2021. Inkjet print, 24 x 30 inches. Mauro Barreto Love Line September 12 - October 25, 2025 215 N Limestone Love Line, a collection of six portraits from Nashville-based photographer Mauro Barreto, explores the intangible emotional residue laced within the romance of youth. Set in unadorned, everyday environments, Barreto’s models are situated firmly in the confusing depths of longing. Not exactly posed, yet clearly aware of themselves as the object of the camera’s gaze, they inhabit zones of indistinction between profundity and frivolity, or serenity and angst. Some of Barreto’s subjects stand with shoulders hunched, hands clasped, and gazes averted or unfocused, while others implicate the photographer and viewer more directly, staring back into the camera. The relationships between them are ambiguous but intense, suggesting unclear or unfulfilled expectations, without resolving into a clear narrative. At first glance, they depict self-assured embodiment, but the bodies collapse upon perception into the artifice of performance. Looking upon these photos might make one think of their own youth (was it yesterday? last year? longer?) and remember the ache of potential which suffused even the most banal of moments. Potential which opened equally upon triumph and satisfaction as upon despair and loneliness. Some past has led to these moments, and some future awaits. But that’s hardly important now. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757702663708-RORN1V0UJMWAXX28XEX7/Barreto_7.jpg Exhibitions: Mauro Barreto - Mauro Barreto, Hunter and Mary, 2022. Inkjet print, 40 x 50 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757702656602-SS99HWKP117K0EJCB933/Barreto_4.jpg Exhibitions: Mauro Barreto - Mauro Barreto, Paula and Nicky, 2024. Inkjet print, 40 x 50 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757702649953-1CB6S7AQGY5XKSUGQJ5U/Barreto_2.jpg Exhibitions: Mauro Barreto - Mauro Barreto, Max and Addie, 2023. Inkjet print, 40 x 50 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757702649650-A9HQA1TLSIO1KLD0QJWE/Barreto_3.jpg Exhibitions: Mauro Barreto - Mauro Barreto, Cait and Kylie, 2023. Inkjet print, 32 x 40 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1757702653704-VGYQEAXJPWT3G2C156NT/Barreto_8.jpeg Exhibitions: Mauro Barreto - Mauro Barreto, Juli, 2019. Inkjet print, 24 x 30 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758229931448-ODY4YW536GVBOEB5HPKS/DSC04090.jpg Exhibitions: Mauro Barreto https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758229931233-KF4YLV01DN0U8X2C99YH/DSC04103.jpg Exhibitions: Mauro Barreto https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758229934630-3PBDR981YQAUPAVO3THP/DSC04133.jpg Exhibitions: Mauro Barreto https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758229935045-IU4WVDE2Y75RT5R9NXTS/DSC04138.jpg Exhibitions: Mauro Barreto https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758229936607-IL9T8C3094CZ67HF7L42/DSC04143.jpg Exhibitions: Mauro Barreto https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758229936487-OO3W1J12WUH9RAPGT7OK/DSC04152.jpg Exhibitions: Mauro Barreto https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758229937931-7V2E2SOGWW4HHTGHI0W8/DSC04161.jpg Exhibitions: Mauro Barreto https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758229938423-48IO1JVUFDNRI6QAJM7O/DSC04175.jpg Exhibitions: Mauro Barreto https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758229940349-0H0TM47MBC3HBLBSUSTP/DSC04178.jpg Exhibitions: Mauro Barreto https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758229940416-4TP8NJ86DGFPYP90RTO3/DSC04188.jpg Exhibitions: Mauro Barreto https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758229942094-9WRNID3UMFILGCB9T2WY/DSC04197.jpg Exhibitions: Mauro Barreto https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758229943768-KE4HUMVD3PGSTFHKRUGB/DSC04232.jpg Exhibitions: Mauro Barreto - Installation views of Mauro Barreto, "Love Line", 2025. https://www.institute193.org/oraien daily 0.75 2025-09-26 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758902416909-0DBKFQ7XAEIPLGJBYKC6/IMG_5750.jpeg Oraien https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758902416909-0DBKFQ7XAEIPLGJBYKC6/IMG_5750.jpeg Oraien https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758902444733-OBXPY64L7AD8PHWXWHY0/IMG_5675.jpeg Oraien https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758902452714-CY62USK7628ZMRR2MHXN/IMG_5679.jpeg Oraien https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758902462891-0R57S4OQV5EBF1MGEBJE/IMG_5661.jpeg Oraien https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758902495218-3Q6E9O2V8I6Y53F8KVSH/IMG_5657.jpeg Oraien https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758902480642-M7RZJIAY9QRA5LTXDHFO/IMG_5652.jpeg Oraien CV Oraien Catledge (American, 1928 – 2015) was born and raised in Tutwiler, a small town in the Mississippi Delta that he described succinctly: “Cotton grew to the edge of the town in every direction. You knew the people around you, had sat on their front porch swings, could name the pictures on their parlor walls.” After receiving his Bachelor’s degree in 1954, he began work with the Mississippi Department of Public Welfare, substituting for short-term vacancies of other personnel across the state and later administering a small county welfare office. In 1969, Catledge and his family moved to Atlanta, Georgia where he became the southeastern regional consultant for the American Foundation for the Blind. In the late 1970s, he learned to use a camera and pursued his newfound passion intensely, despite his own visual impairments caused by an undiagnosed case of malaria he had contracted as a child. Up until his passing in 2015, Catledge took thousands of photographs, but his focus was primarily the residents of Cabbagetown, a place that undoubtedly transformed his way of seeing. https://www.institute193.org/new-project-1 daily 0.75 2025-09-26 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758902691999-T3O73F95QXLQ6IYRS7IJ/_BCX7517.jpg New Project https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758902691999-T3O73F95QXLQ6IYRS7IJ/_BCX7517.jpg New Project https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758902692750-P8U4AASIM16LEQW1M9GL/_BCX7523.jpg New Project https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758902706747-SSPTER4GJMRFJUNDVU74/_BCX7446.jpg New Project https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758902699580-35TYN65EGW497DVRVG5Y/_BCX7552.jpg New Project https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758902706228-PAQYT4G7R7DR8OE4OS5J/_BCX7548.jpg New Project https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1758902709981-2REDIZYWGULRAWG7HS91/_BCX7544.jpg New Project https://www.institute193.org/exhibitions-casey-joiner-ky daily 0.75 2025-11-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1761154834557-6FL19CD5GOKKNFL5QTM3/L1060787.jpg Exhibitions: Casey Joiner KY - Casey Joiner, In The Truck Forever, 2024, archival pigment print, 36 x 45 inches Casey Joiner Housekeeping October 30 - December 20, 2025 215 N Limestone Institute 193 is pleased to present Housekeeping, the latest exhibition of New Orleans-based photographer Casey Joiner’s record of the strange and nonlinear landscape of loss. Created over the past several years while navigating the long illness and eventual passing of her father in early 2023, these images move between still lifes, interiors, and portraits — both real and imagined — reflecting the distortions of grief and the fragile persistence of memory. Intimate, often domestic, and sometimes surreal, this work contemplates the regression to childhood that comes with the death of a parent and the shifting line between memory and imagination. It also explores the concept of “home” as both a physical and generational space, familial bonds, personal identity, and what lingers after loss. The title Housekeeping comes from the idea of care and maintenance — of a home, of a family, of memory itself. It also nods to Marilynne Robinson’s novel of the same name, which meditates on longing, absence, and the fragile beauty of human bonds. While Joiner began by photographing the intimate spaces and objects that defined her childhood, this documentation evolved into a broader record of absence and return. Slipping between the documentary and the dreamlike, the images presented here are fragments of a life, stitched together like memory itself — truthful, but not always factual. Losing a parent is a universal but deeply private experience. Housekeeping offers an intimate window into that experience, while also touching on the broader questions of time, memory, and what we carry forward.

 Housekeeping will also appear as a monograph from Fall Line Press, forthcoming December 2025. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1761154834557-6FL19CD5GOKKNFL5QTM3/L1060787.jpg Exhibitions: Casey Joiner KY - Casey Joiner, In The Truck Forever, 2024, archival pigment print, 36 x 45 inches Casey Joiner Housekeeping October 30 - December 20, 2025 215 N Limestone Institute 193 is pleased to present Housekeeping, the latest exhibition of New Orleans-based photographer Casey Joiner’s record of the strange and nonlinear landscape of loss. Created over the past several years while navigating the long illness and eventual passing of her father in early 2023, these images move between still lifes, interiors, and portraits — both real and imagined — reflecting the distortions of grief and the fragile persistence of memory. Intimate, often domestic, and sometimes surreal, this work contemplates the regression to childhood that comes with the death of a parent and the shifting line between memory and imagination. It also explores the concept of “home” as both a physical and generational space, familial bonds, personal identity, and what lingers after loss. The title Housekeeping comes from the idea of care and maintenance — of a home, of a family, of memory itself. It also nods to Marilynne Robinson’s novel of the same name, which meditates on longing, absence, and the fragile beauty of human bonds. While Joiner began by photographing the intimate spaces and objects that defined her childhood, this documentation evolved into a broader record of absence and return. Slipping between the documentary and the dreamlike, the images presented here are fragments of a life, stitched together like memory itself — truthful, but not always factual. Losing a parent is a universal but deeply private experience. Housekeeping offers an intimate window into that experience, while also touching on the broader questions of time, memory, and what we carry forward.

 Housekeeping will also appear as a monograph from Fall Line Press, forthcoming December 2025. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1761154829979-0NT3YH6QINDZXGHSYJNM/Housekeeping.jpg Exhibitions: Casey Joiner KY - Casey Joiner, Housekeeping, 2024, archival pigment print, 40 x 60 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762632828083-R9T26FNK9A0PO5R2708A/BreatheNormally.jpg Exhibitions: Casey Joiner KY - Casey Joiner, Breathe Normally, 2022, archival pigment print, 40 x 60 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762632825543-4UPKOBG55PJCMUK6W663/BothThingsCanBeTrue.jpg Exhibitions: Casey Joiner KY - Casey Joiner, Both Things Can Be True, 2023, archival pigment print, 40 x 54 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762632806609-3FNUBYU0V73FT66S5VLM/CaseyJoiner-176.jpg Exhibitions: Casey Joiner KY - Casey Joiner, Chappepeela Creek, 2024, archival pigment print, 20 x 30 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1761154827817-5XJATLXVM0WSYU3YAOII/k_Years-Long.jpg Exhibitions: Casey Joiner KY - Casey Joiner, Years-Long, 2024, archival pigment print, 20 x 30 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762632819382-Z18XNL0SO7TASRT3BP22/ThePositiveCapacityOfHallucination.jpg Exhibitions: Casey Joiner KY - Casey Joiner, The Positive Capacity of Hallucination, 2024, archival pigment print, 45 x 30 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762632826716-582ULZAXSE78O7SGIFG8/Balloons.jpg Exhibitions: Casey Joiner KY - Casey Joiner, Balloons, 2023, archival pigment print, 24 x 36 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762632806090-373FVY5AP4KS2IP1996X/CaseyJoiner-173.jpg Exhibitions: Casey Joiner KY - Casey Joiner, Palliative Care, 2025, archival pigment print, 20 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762632816936-01PG8FE39IG60YXK7DDX/Throughline.jpg Exhibitions: Casey Joiner KY - Casey Joiner, Throughline, 2024, archival pigment print, 16 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762632822373-WB704C74KV6NHOH8HQ7X/PerpetualCare.jpg Exhibitions: Casey Joiner KY - Casey Joiner, Perpetual Care, 2024, archival pigment print, 36 x 60 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762632814217-NDKYOZWUETYEGITIR5MP/ThePlainSenseOfThings.jpg Exhibitions: Casey Joiner KY - Casey Joiner, The Plain Sense of Things, 2024, archival pigment print, 36 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762632812347-2C941D3KRGKDDJYTOF2V/ComeToLookAndNotToBuy.jpg Exhibitions: Casey Joiner KY - Casey Joiner, Come to Look and Not to Buy, 2023, archival pigment print, 36 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762632822021-UAYL5N4A1IT0QSGJ2V90/AllOfTheseFragments.jpg Exhibitions: Casey Joiner KY - Casey Joiner, All of These Fragments, 2024, archival pigment print, 39 ¾ x 57 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762632824392-3SWD7O5OT0HTP35G6GBC/Misrememberings.jpg Exhibitions: Casey Joiner KY - Casey Joiner, Misrememberings, 2023, archival pigment print, 30 x 45 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762632809723-ATA22V2VKGPOGL25XTB8/CastlesBurning.jpg Exhibitions: Casey Joiner KY - Casey Joiner, Castles Burning, 2023, archival pigment print, 30 x 45 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762632817168-4K9EVT6EN0I97KQZIRIL/NothingSeemedToLean.jpg Exhibitions: Casey Joiner KY - Casey Joiner, Nothing Seemed to Lean, 2024, archival pigment print, 30 x 45 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1761154836250-TYN7FT12OXOBVFRI7GW3/kodak_professional_portra_800_10_15_2022_000080030004.jpg Exhibitions: Casey Joiner KY - Casey Joiner, Chairs, 2022, archival pigment print, 20 x 24 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1761154820621-KWGZV6G0D4A4RCXD9NSF/AKindOfViolence.jpg Exhibitions: Casey Joiner KY - Casey Joiner, A Kind Of Violence, 2024, archival pigment print, 20 x 30 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762629640859-HQTMSPXKRGGA813OFVQW/DSC04538.jpg Exhibitions: Casey Joiner KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762629640914-J45VCIWD66DKNNG2A6S2/DSC04542.jpg Exhibitions: Casey Joiner KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762629642822-C3DNX4PRGHTOM48S17C8/DSC04560.jpg Exhibitions: Casey Joiner KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762629643079-9IP8DFSUGC4JC8NDSNTA/DSC04565.jpg Exhibitions: Casey Joiner KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762629644591-BZI9E395MG3GW88RI77C/DSC04572.jpg Exhibitions: Casey Joiner KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762629645013-GHJZD9SMCVFNVTI29UL4/DSC04584.jpg Exhibitions: Casey Joiner KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762629647102-LR8HW0HMLDU2MBZ2D4JL/DSC04592.jpg Exhibitions: Casey Joiner KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762629647485-D1N4A1VMQSKBOW4K2SZ0/DSC04603.jpg Exhibitions: Casey Joiner KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762629648964-N1TYALU9PEIH04RFJBX8/DSC04607.jpg Exhibitions: Casey Joiner KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762629649729-2QV456WLT4RVFQ92IF7U/DSC04631.jpg Exhibitions: Casey Joiner KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762629652330-5752NTKR5KJTF7NB7REW/DSC04647.jpg Exhibitions: Casey Joiner KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762629651330-H9TD06MNQY78SRCZX74Q/DSC04644.jpg Exhibitions: Casey Joiner KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762629650715-B4ITA17UC3FND1Z2XGTG/DSC04640.jpg Exhibitions: Casey Joiner KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762629653027-OE1BH6UMDY8BJHS7QQ49/DSC04664.jpg Exhibitions: Casey Joiner KY - Installation views of Casey Joiner, "Housekeeping" 2025 https://www.institute193.org/exhibitions-frko-ky daily 0.75 2026-01-21 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583078128-NBJBEC7J6EX2B6H1GMA0/Untitled-9.jpg Exhibitions: FRKO KY - FRKO, N199A-X, 2026, spray paint, acrylic, oil paint stick, masonite, 45 x 23 inches FRKO Waymin… January 15 - March 07, 2026 Institute 193 is pleased to begin our 2026 programming with Waymin…, a solo exhibition by Atlanta-based artist and illustrator FRKO (born Richard Montgomery), a cornerstone of Atlanta’s contemporary art and music scenes. Waymin… will bring FRKO’s signature blend of delightfully bizarre and unapologetically raw storytelling to Lexington. From iconic album covers for Action Bronson and Gucci Mane to his dark, esoteric comic series, FRKO’s art serves as a catalyst for difficult conversations. Deeply informed by his upbringing in 1990s Atlanta, as well as the city’s explosion of growth and rapid development in recent years, his latest work continues his exploration of the intersection between Southern culture, hip-hop, and social commentary. A phonetic command to “wait a minute”, the exhibition title acts as a temporal intervention, urging a society seemingly careening out of control to pause and acknowledge the collective human experience behind political controversy, economic transformations, and social tensions writ large. Working across a mixture of drawing, painting, and sculpture, Waymin… utilizes FRKO’s classical training and unique sensibility to translate the overwhelming visual experience of contemporary life into dense, hysterical compositions. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583078128-NBJBEC7J6EX2B6H1GMA0/Untitled-9.jpg Exhibitions: FRKO KY - FRKO, N199A-X, 2026, spray paint, acrylic, oil paint stick, masonite, 45 x 23 inches FRKO Waymin… January 15 - March 07, 2026 Institute 193 is pleased to begin our 2026 programming with Waymin…, a solo exhibition by Atlanta-based artist and illustrator FRKO (born Richard Montgomery), a cornerstone of Atlanta’s contemporary art and music scenes. Waymin… will bring FRKO’s signature blend of delightfully bizarre and unapologetically raw storytelling to Lexington. From iconic album covers for Action Bronson and Gucci Mane to his dark, esoteric comic series, FRKO’s art serves as a catalyst for difficult conversations. Deeply informed by his upbringing in 1990s Atlanta, as well as the city’s explosion of growth and rapid development in recent years, his latest work continues his exploration of the intersection between Southern culture, hip-hop, and social commentary. A phonetic command to “wait a minute”, the exhibition title acts as a temporal intervention, urging a society seemingly careening out of control to pause and acknowledge the collective human experience behind political controversy, economic transformations, and social tensions writ large. Working across a mixture of drawing, painting, and sculpture, Waymin… utilizes FRKO’s classical training and unique sensibility to translate the overwhelming visual experience of contemporary life into dense, hysterical compositions. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583099265-C67AZQ5QULJ92T7PRK9D/Untitled-8.jpg Exhibitions: FRKO KY - FRKO, MAGA Deputy Donut, 2026, spray paint, acrylic, oil paint stick, masonite, 32 ¼ x 21 ¼ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583097291-ROI4T5CCO67NLUN1YZDX/Untitled-7.jpg Exhibitions: FRKO KY - FRKO, Rubber Man In Cyber Truck, 2026, spray paint, acrylic, oil paint stick, masonite, 45 ⅞ x 48 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583105948-0A6JO8Q85RIKXU99UJTH/Untitled-2.jpg Exhibitions: FRKO KY - FRKO, Pledge Of Allegiance, 2026, spray paint, acrylic, oil paint stick, masonite, 23 ⅞ x 37 ¼ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583092394-TK4ENGDN4JE60NLHQK18/Untitled-6.jpg Exhibitions: FRKO KY - FRKO, Line Street Lene For Gucci, 2026, spray paint, acrylic, oil paint stick, masonite, 47 ⅞ x 21 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583083541-LTQMHD4JSYNM4W0A617Y/Untitled-3.jpg Exhibitions: FRKO KY - FRKO, Epstein File, 2026, spray paint, acrylic, oil paint stick, masonite, 23 x 16 ¼ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583084796-4JCWP5NED9FBT7361RQH/Untitled-4.jpg Exhibitions: FRKO KY - FRKO, J-Lo, 2026, spray paint, acrylic, oil paint stick, masonite, 46 ½ x 25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583089041-Z6IXQNS9U736V8ZJ0PCJ/Untitled-5.jpg Exhibitions: FRKO KY - FRKO, Flying Waffle Saucer, 2026, foam core, spray foam, plastic, glue, spray paint, 24 x 24 x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583101724-JUI77F7IQVXB2GLHFKSA/Untitled-1.jpg Exhibitions: FRKO KY - FRKO, Nigga Turtle, 2026, oil sharpie on found object, 8 x 11 ¾ x 5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750454681-QVWT5YPPJF1HBB2N6DJ6/FRKO+install-01.jpg Exhibitions: FRKO KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750454808-S1INVB9NPA6OBNGG0T1H/FRKO+install-02.jpg Exhibitions: FRKO KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750457203-4VJV6BH55LD5KZMNQ9AN/FRKO+install-03.jpg Exhibitions: FRKO KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750457939-7C6WILCCUPS8O67HURV7/FRKO+install-04.jpg Exhibitions: FRKO KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750472588-57IOVHBNLLO0W5Y6YFKY/FRKO+install-15.jpg Exhibitions: FRKO KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750459853-P2G8VJC3ZS3RQ7ZZPE62/FRKO+install-05.jpg Exhibitions: FRKO KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750473138-9RZ9PML4UJK0V678JE90/FRKO+install-14.jpg Exhibitions: FRKO KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750460697-TCOLCHG287DC7H5LNFWU/FRKO+install-06.jpg Exhibitions: FRKO KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750462546-KW0YG1QPT190GA1NGCWW/FRKO+install-07.jpg Exhibitions: FRKO KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750463338-MD69QC30ORGLJJ99I5EJ/FRKO+install-08.jpg Exhibitions: FRKO KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750464951-OR2O111HOPRGKU91T83Q/FRKO+install-09.jpg Exhibitions: FRKO KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750465961-FLQCB5Y622KFP7WWJWVW/FRKO+install-10.jpg Exhibitions: FRKO KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750467256-DPXE7SXEI2TKKJNDSZMY/FRKO+install-11.jpg Exhibitions: FRKO KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750469523-DEIXDPFV5GCN4210B470/FRKO+install-12.jpg Exhibitions: FRKO KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768750470203-WWVLPXORYC6VPPCPA0AA/FRKO+install-13.jpg Exhibitions: FRKO KY - Installation views of FRKO, "Waymin...", 2026. https://www.institute193.org/exhibitions-ezekiel-robinson-ky daily 0.75 2026-01-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583423171-34XHECN72CX99YX0E4XN/Untitled-10.jpg Exhibitions: Ezekiel Robinson KY - Ezekiel Robinson, Call, 2025, marker on paper, safety pins, 4 x 4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583423171-34XHECN72CX99YX0E4XN/Untitled-10.jpg Exhibitions: Ezekiel Robinson KY - Ezekiel Robinson, Call, 2025, marker on paper, safety pins, 4 x 4 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583574555-6EMIH0JMLY00WOXAX97G/Untitled-2.jpg Exhibitions: Ezekiel Robinson KY - Ezekiel Robinson, Sandrez, 2026, marker on paper, 4 ¾ x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583428911-1LXCQ2YA7J1ZHNXZX88G/Untitled-7.jpg Exhibitions: Ezekiel Robinson KY - Ezekiel Robinson, Exit, 2026, marker on paper, safety pins, thread, 5 ¼ x 6 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583429549-SROPFLXKKEWHXNR06LXB/Untitled-8.jpg Exhibitions: Ezekiel Robinson KY - Ezekiel Robinson, Twin Sister, 2026, marker on paper, safety pins, 9 ¼ x 9 ¼ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583442123-UMD6N6SINC27ZNWN3S7X/Untitled-3.jpg Exhibitions: Ezekiel Robinson KY - Ezekiel Robinson, Hoop, 2026, marker on paper, 3 ¾ x 6 x 1 ¾ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583435756-GK709QF4IF55GYP09W5S/Untitled-9.jpg Exhibitions: Ezekiel Robinson KY - Ezekiel Robinson, Spiderlady/flygirl, 2025, ink and marker on paper, thread,  8 ½ x 11 x 1 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583435262-IN4H8AJT9VTX7XOAU7D3/Untitled-1.jpg Exhibitions: Ezekiel Robinson KY - Ezekiel Robinson, Route 9, 2025, marker on paper, safety pins, 4 ¼ x 5 ½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583447989-B4LORZ5XAGI0R2NF4FHH/Untitled-4.jpg Exhibitions: Ezekiel Robinson KY - Ezekiel Robinson, Brittany, 2025, marker and acrylic on paper, 5 ¼ x 6 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583420022-D4WQZ0Z7NIEU036JF356/Untitled-6.jpg Exhibitions: Ezekiel Robinson KY - Ezekiel Robinson, Super, 2025, marker on paper, 5 x 5 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583409536-YMR0ZCIPFP1VGWRX9W8N/Untitled-5.jpg Exhibitions: Ezekiel Robinson KY - Ezekiel Robinson, Response, 2026, marker on paper, safety pins, 3 ½ x 4 inches https://www.institute193.org/off-site-robert-morgan-at-sheriff daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772642970699-X11KUKCA14SU5B7GGMSE/059A5976.jpg Off Site: Robert Morgan at Sheriff Robert Morgan Saints & Martyrs Sheriff Gallery - Paris, France February 1 - February 28, 2026 Special thanks to 21c Museum Hotel and the Faulkner Morgan Archive for providing the works for this exhibition. For his first Parisian exhibition, Bob Morgan presents a body of work that condenses a lifetime of creation, commitment, and marginality. Born in Kentucky in 1950 and raised in a Catholic family steeped in ancient rites, Bob Morgan grew up in what he himself describes as the "old world": Latin mass, solemn liturgy, icons of saints and martyrs whose stories — and instruments of torture — left a lasting mark on his imagination. His mother, herself an artist, almost officially designated him early on as "the artist" of the five siblings. One day in middle school, when students had to introduce themselves to the class, Bob stood up and declared: "Hello, I'm Bob Morgan and I'm an artist." The class laughed. He never wavered. From a very young age, he began photographing, sculpting, and assembling. He built altars to friends who died of AIDS. And above all, he welcomed people. A community formed around him: queer, marginal, radical. His studio became a refuge, a space for speech, visibility, and desire. Bob Morgan did not document this community — he was part of it. The Parisian exhibition, titled Saints and Martyrs, reveals this deep bond with all the beings who have surrounded him, and still do. It brings together two major bodies of work. The first consists of photographs directly inspired by religious imagery — portraits of saints, votive candles. But here, the idols have new faces. Bob Morgan portrays what he calls, not without affection, "stereotypical losers": young men marked by alcohol, delinquency, addiction, sometimes armed, often excessive. Photographed mainly in the early 2000s, these subjects were sometimes known to him for only a few hours or days. Yet in the intensity of their gaze, in the direct contact with the lens, a trust takes hold. These men, rarely seen as anything other than social problems, become icons here. Secular saints. Their sexuality is omnipresent, raw, sometimes violent — but always sublime. In Bob Morgan's work, beauty is never moral. It is carnal, tragic, and radiant. The second body of work, more recent and produced last year, takes the form of "souvenir plates." These decorative plates, made in England, evoke the bourgeois Anglo-Saxon imagination: portraits of the Pope, the royal family, figures of power frozen in tradition. Bob Morgan subverts this domestic object by affixing to it the publicly available arrest photos — mugshots — of those same subjects. Bad boys sanctified by porcelain. Through these two bodies of work, Bob Morgan frontally upends the codes of the Church, American Puritan morality, and social respectability. He elevates those whom these institutions condemn. He inverts the hierarchy of the gaze. Morgan recounts that his subjects-turned-heroes participate, speak, and open up. Many enjoy this sudden stardom, this unexpected recognition through the lens. With humor, the artist even confesses to dreaming of opening a "souvenir shop" in prisons — to sell mugs and plates to the families of young inmates. At 77, Bob Morgan continues to work with the same radicalism. Photographer, sculptor, and performer, he was one of the founding members of early queer underground groups, notably including the Pagan Babies — a cross-dressing performance collective later decimated by the AIDS epidemic, which took to the streets as a space of creation and resistance, drawing on the aesthetics of Hollywood noir and the films of Jean Cocteau. A defining figure of the counterculture in Lexington, Kentucky, he has exhibited for decades in artist-run spaces, far from the dominant institutional circuits. Only very recently has his work found its way into certain local museums. His work is shot through with violence, desire, and loss — but also with an absolute loyalty to his subjects. As he himself puts it: "I'm an artist, not a social worker. I do activism. I educate. But I don't think we can save people." Some of his saints and martyrs are dead. Others have survived. But all are now fixed, transfigured, and elevated by the art of Bob Morgan — beyond all judgment. And beyond time. - Boris Bergman https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772642970699-X11KUKCA14SU5B7GGMSE/059A5976.jpg Off Site: Robert Morgan at Sheriff Robert Morgan Saints & Martyrs Sheriff Gallery - Paris, France February 1 - February 28, 2026 Special thanks to 21c Museum Hotel and the Faulkner Morgan Archive for providing the works for this exhibition. For his first Parisian exhibition, Bob Morgan presents a body of work that condenses a lifetime of creation, commitment, and marginality. Born in Kentucky in 1950 and raised in a Catholic family steeped in ancient rites, Bob Morgan grew up in what he himself describes as the "old world": Latin mass, solemn liturgy, icons of saints and martyrs whose stories — and instruments of torture — left a lasting mark on his imagination. His mother, herself an artist, almost officially designated him early on as "the artist" of the five siblings. One day in middle school, when students had to introduce themselves to the class, Bob stood up and declared: "Hello, I'm Bob Morgan and I'm an artist." The class laughed. He never wavered. From a very young age, he began photographing, sculpting, and assembling. He built altars to friends who died of AIDS. And above all, he welcomed people. A community formed around him: queer, marginal, radical. His studio became a refuge, a space for speech, visibility, and desire. Bob Morgan did not document this community — he was part of it. The Parisian exhibition, titled Saints and Martyrs, reveals this deep bond with all the beings who have surrounded him, and still do. It brings together two major bodies of work. The first consists of photographs directly inspired by religious imagery — portraits of saints, votive candles. But here, the idols have new faces. Bob Morgan portrays what he calls, not without affection, "stereotypical losers": young men marked by alcohol, delinquency, addiction, sometimes armed, often excessive. Photographed mainly in the early 2000s, these subjects were sometimes known to him for only a few hours or days. Yet in the intensity of their gaze, in the direct contact with the lens, a trust takes hold. These men, rarely seen as anything other than social problems, become icons here. Secular saints. Their sexuality is omnipresent, raw, sometimes violent — but always sublime. In Bob Morgan's work, beauty is never moral. It is carnal, tragic, and radiant. The second body of work, more recent and produced last year, takes the form of "souvenir plates." These decorative plates, made in England, evoke the bourgeois Anglo-Saxon imagination: portraits of the Pope, the royal family, figures of power frozen in tradition. Bob Morgan subverts this domestic object by affixing to it the publicly available arrest photos — mugshots — of those same subjects. Bad boys sanctified by porcelain. Through these two bodies of work, Bob Morgan frontally upends the codes of the Church, American Puritan morality, and social respectability. He elevates those whom these institutions condemn. He inverts the hierarchy of the gaze. Morgan recounts that his subjects-turned-heroes participate, speak, and open up. Many enjoy this sudden stardom, this unexpected recognition through the lens. With humor, the artist even confesses to dreaming of opening a "souvenir shop" in prisons — to sell mugs and plates to the families of young inmates. At 77, Bob Morgan continues to work with the same radicalism. Photographer, sculptor, and performer, he was one of the founding members of early queer underground groups, notably including the Pagan Babies — a cross-dressing performance collective later decimated by the AIDS epidemic, which took to the streets as a space of creation and resistance, drawing on the aesthetics of Hollywood noir and the films of Jean Cocteau. A defining figure of the counterculture in Lexington, Kentucky, he has exhibited for decades in artist-run spaces, far from the dominant institutional circuits. Only very recently has his work found its way into certain local museums. His work is shot through with violence, desire, and loss — but also with an absolute loyalty to his subjects. As he himself puts it: "I'm an artist, not a social worker. I do activism. I educate. But I don't think we can save people." Some of his saints and martyrs are dead. Others have survived. But all are now fixed, transfigured, and elevated by the art of Bob Morgan — beyond all judgment. And beyond time. - Boris Bergman https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772642974870-E70GW4Q7SCT4Y4UUTUC0/059A6022.jpg Off Site: Robert Morgan at Sheriff https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772642972365-72KDDRHSQ8ZL547T3DMR/059A6004.jpg Off Site: Robert Morgan at Sheriff https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772642970733-952PG3HLTAT7QMXDBL5N/059A5977.jpg Off Site: Robert Morgan at Sheriff https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772642971982-YRYYUIU6VL2J8S4NKLWO/059A5989.jpg Off Site: Robert Morgan at Sheriff https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772642973189-3A039DAD2X3PB1W3A1QK/059A6007.jpg Off Site: Robert Morgan at Sheriff https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772642974372-RRMG8HVORDIZDH7T0KVO/059A6017.jpg Off Site: Robert Morgan at Sheriff - Installation views of Robert Morgan, "Saints & Martyrs", 2026. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772643518684-C1GYHX96AG3KBFSQMZLU/DSC04861.jpg Off Site: Robert Morgan at Sheriff - Robert Morgan, Prayer Flag (31), 2000. Vinyl Banner, Grommets, 36 x 24 inches. Courtesy 21c Museum Hotel. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772643508983-SG7GC4P84KXDPRWFZ2HO/DSC04736.jpg Off Site: Robert Morgan at Sheriff - Robert Morgan, Prayer Flag (20), 2000. Vinyl Banner, Grommets, 36 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772643504831-BLWW8L8P4NA1PS9PSI21/DSC04721.jpg Off Site: Robert Morgan at Sheriff - Robert Morgan, Prayer Flag (14), 2000. Vinyl Banner, Grommets, 36 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772643509747-OTRON7WCBRUMTQFJ3EUE/DSC04738.jpg Off Site: Robert Morgan at Sheriff - Robert Morgan, Prayer Flag (21), 2000. Vinyl Banner, Grommets, 36 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772643519155-R8STO4S0AE26OPI25AR4/DSC04849.jpg Off Site: Robert Morgan at Sheriff - Robert Morgan, Prayer Flag (25), 2000. Vinyl Banner, Grommets, 36 x 24 inches. Courtesy 21c Museum Hotel. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772643500245-BN55WH8AS0D5K4SVGYWN/DSC04710.jpg Off Site: Robert Morgan at Sheriff - Robert Morgan, Prayer Flag (11), 2000. Vinyl Banner, Grommets, 36 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772643496555-9MHUWLH5U4LQ9RQI4VN9/DSC04700.jpg Off Site: Robert Morgan at Sheriff - Robert Morgan, Prayer Flag (7), 2000. Vinyl Banner, Grommets, 36 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772643514500-2NS50UJNODQUDHIXDM45/DSC04846.jpg Off Site: Robert Morgan at Sheriff - Robert Morgan, Prayer Flag (23), 2000. Vinyl Banner, Grommets, 36 x 24 inches. Courtesy 21c Museum Hotel. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772643513701-A7E6ICUXFCNMGWMTUXZX/DSC04742.jpg Off Site: Robert Morgan at Sheriff - Robert Morgan, Prayer Flag (22), 2000. Vinyl Banner, Grommets, 36 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772643500040-2938DWCPER0TPPQ6HXPF/DSC04704.jpg Off Site: Robert Morgan at Sheriff - Robert Morgan, Prayer Flag (8), 2000. Vinyl Banner, Grommets, 36 x 24 inches. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772643505517-PUANXLARNZ6GN3KZO8ZZ/DSC04733.jpg Off Site: Robert Morgan at Sheriff - Robert Morgan, Prayer Flag (19), 2000. Vinyl Banner, Grommets, 36 x 24 inches. https://www.institute193.org/exhibitions-greg-reynolds-ky daily 0.75 2026-04-01 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823069552-NXNEQYPVSQXAJZGKTSYW/Brian_Jeep_Mirror_001_300dpi%281%29.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Brian looking in his Jeep’s Mirror, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches Greg Reynolds Double Life March 13 - April 25, 2026 “WHETHER YOU LOVE WHAT YOU LOVE OR LIVE IN DIVIDED CEASELESS REVOLT AGAINST IT WHAT YOU LOVE IS YOUR FATE.” -Frank Bidart, 1985 Greg Reynolds has spent much of his life looking closely at those he loves. His images, marked by technical precision and an attention to beauty, are charged with a deep sense of longing and a reflective awareness of the past as an ongoing presence. That same attentiveness moves from the fields and family rooms of his home in Kentucky to the intimate portraits of men made over several decades. Double Life draws together two parallel stories from Reynolds’s body of work: Evidence (1978-2022), photographs of his family in Kentucky, and Possibly Maybe (1989-2022), a series of male portraits made in the cities that Reynolds has called home: Lexington, New York City, and Berlin. The project that would become Evidence was started in the late 1970s, shortly before he came out as a gay man and while he still worked in Christian Campus Ministry. Like many young photographers, the images he produced were meant to preserve the moment and capture the lives of his loved ones in a way that conventional studio photos and snapshots never could. As a queer person from a conservative, Southern Baptist background, the camera allowed Reynolds to carve a place for himself within an environment where he was both an insider and outsider. In 1983, Reynolds moved to New York City to pursue a master’s in film at Columbia University. It was during his time as a student, waiter, and office temporary that he began to seriously explore portraiture. The images he made – portraits of actors, dancers, and models he waited tables with, alongside boyfriends and strangers he met in clubs and bars – would become part of his second long-term project Possibly Maybe. The camera, once more, gave Reynolds permission to look; a way to channel the feelings and longings that his conservative, religious upbringing would not permit. In Double Life, these two projects are folded into one another. They remain distinct, shaped in different places and with different intentions. Yet, both works evoke a desire for belonging, an attention to beauty, and the constancy of attachment. Seen together, these qualities reveal themselves, suggesting that the various lives we live and worlds we inhabit are more intimately interwoven than they first appear – and that what we return to, again and again, ultimately forms the shape of a life. – Aaron Reynolds https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823069552-NXNEQYPVSQXAJZGKTSYW/Brian_Jeep_Mirror_001_300dpi%281%29.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Brian looking in his Jeep’s Mirror, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches Greg Reynolds Double Life March 13 - April 25, 2026 “WHETHER YOU LOVE WHAT YOU LOVE OR LIVE IN DIVIDED CEASELESS REVOLT AGAINST IT WHAT YOU LOVE IS YOUR FATE.” -Frank Bidart, 1985 Greg Reynolds has spent much of his life looking closely at those he loves. His images, marked by technical precision and an attention to beauty, are charged with a deep sense of longing and a reflective awareness of the past as an ongoing presence. That same attentiveness moves from the fields and family rooms of his home in Kentucky to the intimate portraits of men made over several decades. Double Life draws together two parallel stories from Reynolds’s body of work: Evidence (1978-2022), photographs of his family in Kentucky, and Possibly Maybe (1989-2022), a series of male portraits made in the cities that Reynolds has called home: Lexington, New York City, and Berlin. The project that would become Evidence was started in the late 1970s, shortly before he came out as a gay man and while he still worked in Christian Campus Ministry. Like many young photographers, the images he produced were meant to preserve the moment and capture the lives of his loved ones in a way that conventional studio photos and snapshots never could. As a queer person from a conservative, Southern Baptist background, the camera allowed Reynolds to carve a place for himself within an environment where he was both an insider and outsider. In 1983, Reynolds moved to New York City to pursue a master’s in film at Columbia University. It was during his time as a student, waiter, and office temporary that he began to seriously explore portraiture. The images he made – portraits of actors, dancers, and models he waited tables with, alongside boyfriends and strangers he met in clubs and bars – would become part of his second long-term project Possibly Maybe. The camera, once more, gave Reynolds permission to look; a way to channel the feelings and longings that his conservative, religious upbringing would not permit. In Double Life, these two projects are folded into one another. They remain distinct, shaped in different places and with different intentions. Yet, both works evoke a desire for belonging, an attention to beauty, and the constancy of attachment. Seen together, these qualities reveal themselves, suggesting that the various lives we live and worlds we inhabit are more intimately interwoven than they first appear – and that what we return to, again and again, ultimately forms the shape of a life. – Aaron Reynolds https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823092053-Q3T6679G7CMD67XXDJFN/Maryanne_FacePortrait_2_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Maryanne, Jacobson Park, Kentucky, 2026, archival Inkjet print, 22 x 17 inches 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823095449-7RP5VQVO3K87F3LWMW7U/Mom_BlueRobe_09_1_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Mom in Blue House Robe, Christmas, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823066053-TUWWGJC02QRKW4OWK8DE/Adam_Aaron_Pool_2008_03_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Adam and Aaron in Pool, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823090036-B5VJ5DMPE3E8JK2CBF7S/LeslieAnne_LewisCarroll_1999_03_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Leslie Anne and Lewis Carroll Photograph, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1773419003966-RPQJUGZVCBNMHEI9WQIC/Dad_ArmChair_Den_KY_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Dad In His Armchair, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823083080-11PX5SUFGYW0BD9NLILC/haybale_pond_2017_001_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Haybale in Pond, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1773418958303-LB54QC6VVNUW7463583R/Kentucky+Creek+Bath_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Creek Bath, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823065017-E8DKIB0LNPK3D95LRMZ2/Aaron_2010_1_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Aaron at Grandparent’s House, Kentucky, 2026, archival Inkjet print, 22 x 17 inches 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823097876-GBV6BJNAU4N8CD8DEROS/Mom_Fog_Flowers_002_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Mom dressed for Sunday Church, Kentucky, 2026, archival Inkjet print, 22 x 17 inches 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823083086-8UL8XS9YN58TXSFPKO8R/LesAnne_6yrs_garden_001_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Leslie Anne, Barefoot in Grandmother’s Garden, Kentucky, 2026, archival Inkjet print, 22 x 17 inches 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1773419105936-QAF5TE91QESJOOOSTKUH/Wade_001_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Wade, New York City, 2026, archival Inkjet print, 22 x 28½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823073879-QZHXW4WZ1M2EOSNWX6EP/Ed_Liang_southhill_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Ed, New York City, 2026, archival Inkjet print, 22 x 17 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823100706-I4Q7ZLI43NUOR4IS1RLT/Paul_Berlin_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Paul, Berlin, Germany, 2026, archival Inkjet print, 22 x 17 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823105096-LG1PVYA2L7BIP9KK5EAS/Tim_Siberia_010_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Timur, Brooklyn, New York, 2026, archival Inkjet print, 22 x 28½ inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1773418956549-SZEU9M4BNDUY2PEYOD70/Piotr_KY_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Piotr, Kentucky, 2026, archival Inkjet print, 22 x 17 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823098373-59AQO8UR1W8K71916ZQ3/Nicolai_pm_106_010_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Nikolai, Berlin, Germany, 2026, archival Inkjet print, 22 x 17 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823091188-EOEWF4CFARXE20LYZR4J/LeslieAnne_Mammaw_Goodbye_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Leslie Anne and her Great Grandmother, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823102836-5G7WFW8MNS7ZEGNP8F88/redbud_2015_004_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Redbud Trees in Spring, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823088723-AQ8NMKRGX0MADKAWOP4M/LeslieAnne_2010_4_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Leslie Anne and Earless Monkey, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823086634-4RQQ6Z6YE7YDCO6WHSNV/Leslie_Raccoon_001_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Leslie and Raccoon, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823087581-DW5L01N1XNT6L5KAWW3Z/LesAnne_Aaron_Adam_Rest_08_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Cousin’s: Leslie Anne, Aaron and Adam drinking Cokes, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823079078-WCFM6QGSJR67VATGMFQ3/FamilyPicture_Mantle_001_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Family Studio Portrait and Sheep, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1772823076329-XTR49OH3M6AADVLJPXG1/family_121_03_300dpi.jpg Exhibitions: Greg Reynolds KY - Greg Reynolds, Orange Lily and Burn Pile, Kentucky, 2026, archival Inkjet print, 22 x 28½ inches 
 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072257691-7PYVOOUWP15ZXZTNMGRP/DSC05854.jpg Exhibitions: Greg Reynolds KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072257738-GY0LP5XVKN7UYW7O0ZDU/DSC05865.jpg Exhibitions: Greg Reynolds KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072259801-P17Q3BT83POSYI25N830/DSC05866.jpg Exhibitions: Greg Reynolds KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072259870-RP1WG7G1SYDK7V7OSIKS/DSC05868.jpg Exhibitions: Greg Reynolds KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072261720-IV42Z6WXV7MAVR6PKUZN/DSC05883.jpg Exhibitions: Greg Reynolds KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072261728-PW6OQXMS5JZ9Y50LDZTQ/DSC05885.jpg Exhibitions: Greg Reynolds KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072263547-L3UPJO0N1MTKWZE7MDGU/DSC05888.jpg Exhibitions: Greg Reynolds KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072263928-598AURRE9OKZ9M2HR6UR/DSC05897.jpg Exhibitions: Greg Reynolds KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072265301-VZDVCD1VYKIY2XAKE4VC/DSC05901.jpg Exhibitions: Greg Reynolds KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072265949-SI6LZL64VBC76R9QKWHI/DSC05904.jpg Exhibitions: Greg Reynolds KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072267075-06D9DWP5KW8WJWS521JC/DSC05908.jpg Exhibitions: Greg Reynolds KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072267833-BX4VSGF9JTC60XQ1VO8Q/DSC05913.jpg Exhibitions: Greg Reynolds KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072268740-3ZK6FXT3N9NBSKQS2316/DSC05915.jpg Exhibitions: Greg Reynolds KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072269337-GK4ZOZRYIIC7N4SNI68D/DSC05916.jpg Exhibitions: Greg Reynolds KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775072486785-Z0UMRBIPPHXQ98LDEORG/DSC05918.jpg Exhibitions: Greg Reynolds KY - Installation views of Greg Reynolds, "Double Life", 2026. https://www.institute193.org/exhibitions-robert-beatty-ky-1 daily 0.75 2026-03-25 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1774449012648-V7N06M4VHQ1CUGBMIX6M/Robert+Beatty_phantom+passthrough.jpg Exhibitions: Robert Beatty KY - Robert Beatty, Phantom Passthrough, 2025, cyanotype, 16 x 22 inches, edition of 16 Robert Beatty Recent Prints March 20 - April 25, 2026 The impetus for this exhibition of Recent Prints was a week spent in Cedar Falls, Iowa at the University of Northern Iowa in 2025 as a visiting artist in the printmaking department. In 4 days I made 4 prints with the professors and students there- two silkscreens and two cyanotypes. The screenprints were made with Aaron Wilson & Tim Dooley (Known together as Midwest Pressed) and students in the printmaking department and the cyanotypes were made with photographer Noah Doely. This work stems from and overlaps with the zines and tabloids I've been intermittently self publishing in small runs over the past several years. – Robert Beatty https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1774449012648-V7N06M4VHQ1CUGBMIX6M/Robert+Beatty_phantom+passthrough.jpg Exhibitions: Robert Beatty KY - Robert Beatty, Phantom Passthrough, 2025, cyanotype, 16 x 22 inches, edition of 16 Robert Beatty Recent Prints March 20 - April 25, 2026 The impetus for this exhibition of Recent Prints was a week spent in Cedar Falls, Iowa at the University of Northern Iowa in 2025 as a visiting artist in the printmaking department. In 4 days I made 4 prints with the professors and students there- two silkscreens and two cyanotypes. The screenprints were made with Aaron Wilson & Tim Dooley (Known together as Midwest Pressed) and students in the printmaking department and the cyanotypes were made with photographer Noah Doely. This work stems from and overlaps with the zines and tabloids I've been intermittently self publishing in small runs over the past several years. – Robert Beatty https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1774448979940-4RJP7QE5MHXRPR88W2V3/Robert+Beatty_Bells+to+See.jpg Exhibitions: Robert Beatty KY - Robert Beatty, Bells To See, 2025, silkscreen, 18 x 24 inches, edition of 40 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1774448984378-3KIR3ZM8WPJ9DQWREKTH/Robert+Beatty_Phosphenes.jpg Exhibitions: Robert Beatty KY - Robert Beatty, Phosphenes, 2025, cyanotype, 11 x 15 inches, edition of 16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1774448996298-PKS72V53376E5EZ7OI55/Robert+Beatty_Sentinel+Diode.jpg Exhibitions: Robert Beatty KY - Robert Beatty, Sentinel Diode, 2025, silkscreen, 18 ¾ x 24 ¼ inches, edition of 30 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1774448980388-O1RB0PQG5X40SXA3RVF9/Robert+Beatty_3-Day+Gallon-2.jpg Exhibitions: Robert Beatty KY - Robert Beatty, 3-Day Gallon, 2026, digital offset on newsprint, 27 ½ x 19 ½ inches ‍ ‍ Purchase a copy of 3-Day Gallon here https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1774448966656-6VZZ5BDOPTA0P3U5V08W/Robert+Beatty_3-Day+Gallon-1.jpg Exhibitions: Robert Beatty KY - Verso: 3-Day Gallon, 2026, digital offset on newsprint, 27 ½ x 19 ½ inches ‍ ‍ Purchase a copy of 3-Day Gallon here‍ https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1774449557076-FFQ1Q3IT0AAGNI4JNQO5/AHEM-2026A-1-100k.jpg Exhibitions: Robert Beatty KY - Robert Beatty, Caustic Signoff, 2026, offset print on newsprint, 12 pages, 11 ½ x 14 ½ inches ‍ ‍ Purchase a copy of Caustic Signoff here https://www.institute193.org/about daily 0.75 2025-12-20 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/36e20457-9469-4ce4-a42f-55f5494fad50/IMG_5555.jpg About - Visit Us Institute 193 215 N. Limestone Lexington, KY 40507 Wednesday - Saturday, 11AM - 6PM 193 Shop 193 N Limestone Lexington, KY 40507 Thursday - Saturday, 11AM - 6PM Our galleries are always open by appointment. To set up a visit outside of normal business hours, contact us at info@institute193.org. https://www.institute193.org/exhibitions daily 0.75 2026-03-25 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/237962e0-0c15-4003-9e8e-59e30fb47b10/Brian_Jeep_Mirror_001_300dpi.jpg Exhibitions - Greg Reynolds Double Life March 13 - April 25, 2026 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/dd09909b-2046-4498-b97a-c87883a92ba6/Robert+Beatty_phantom+passthrough.jpg Exhibitions - Robert Beatty Recent Prints March 20 - April 25, 2026 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583097291-ROI4T5CCO67NLUN1YZDX/Untitled-7.jpg Exhibitions - FRKO Waymin… January 15 - March 07, 2026 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1768583447989-B4LORZ5XAGI0R2NF4FHH/Untitled-4.jpg Exhibitions - Ezekiel Robinson Sat Upon A Rock January 15 - March 07, 2026 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1761154820621-KWGZV6G0D4A4RCXD9NSF/AKindOfViolence.jpg Exhibitions - Casey Joiner Housekeeping October 30 - December 20 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/6665e59c-44f5-4bb0-b8b2-2ed52d170336/Barreto_9.jpg Exhibitions - Mauro Barreto Love Line September 12 - October 25 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/fb2c40f3-2481-4194-83b0-640857ac1e52/HOMAGE+TO+THE+ANCIENT+LOCUST.jpg Exhibitions - Dobree Adams with Jonathan Greene Awe & Wonder September 13 - October 25 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/7c990896-3f2d-41c9-a01c-d9b93f7254d8/Copy+of+Over+Land+and+Sea.jpg Exhibitions - Marcus Dunn Outings July 25 - September 5, 2025 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/937783af-c85e-4068-ba90-1766e56cca7a/Untitled-1.jpg Exhibitions - Susan Te Kahurangi King and Eric Oglander By Golly July 19 - September 5, 2025 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/66b6b884-c7be-48e0-8d5c-3c9cce1eeed0/Screenshot+2025-06-02+at+9.22.27%E2%80%AFAM.png Exhibitions - Ceirra Evans Come Rain or Shine June 06 - July 19, 2025 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/726caeb8-e181-498f-abc2-e3dc70a1199d/193Sap44wsWhole.jpg Exhibitions - Tom Parrish All That’s Left is All There is May 23 - July 12, 2025 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1ce5ffb5-ea8f-4a8f-aec3-b37ef09e610d/PillowStrap-editing-2.jpg Exhibitions - Jackson Markovic Supernature April 18 - May 31, 2025 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/fa917f46-fb87-4cf0-ab64-043b9da8d15b/Screenshot+2025-04-03+at+12.53.50%E2%80%AFPM.png Exhibitions - Broadsides From The King Library Press and Polyglot Press March 28 - May 17, 2025 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/d12d42b0-3ddd-4bd8-951e-392ea7382e89/Tierra+Adentro+detail+2.jpg Exhibitions - María Korol Tierra adentro (Hinterland) February 28 - April 12, 2025 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/a6d4801d-7aa1-4f54-985b-808c84127d98/9.jpg Exhibitions - Sasha Tycko Ways Of The Atlanta Forest January 17 - March 22, 2025 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/6f1dcc2c-564d-4119-9794-ce5e8382cd9f/DSCF8632%281%29.jpg Exhibitions - Kole Nichols Even When It’s Dark Out January 10 - February 22, 2025 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/7c856ff3-8471-4a2c-b338-1a4c19125cb9/2.+McCabe+-+Gulf+of+Mexico.jpg Exhibitions - Richard McCabe Perdido November 08 – December 21, 2024 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/a0ede34e-66ce-4023-8b87-8e076704e862/_DSC0618e.jpg Exhibitions - MC Sparks Muscle Memory September 20 – November 02, 2024 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/20ca9ca5-9730-48ad-b01f-76e737cb2214/R0003260.JPG Exhibitions - Case Mahan In The Round August 09 – September 14, 2024 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/dc81ceb1-9f47-4cfb-aca0-52612f143e48/FA+promo-1.jpg Exhibitions - Feliciano Abaurre Faces In Earth August 09 – September 14, 2024 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/78571be1-44ae-4998-82ab-e08cfd203cf9/Sam+Linguist+plates+edited-05.jpg Exhibitions - Sam Linguist Italy, Texas June 14 – July 27, 2024 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/a9b2b2fc-2080-499f-83ff-28a6266e8a46/Megan+Bickel+Plates+Edited-07.jpg Exhibitions - Megan Bickel Orgonon June 14 – July 27, 2024 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/98459092-0d2f-40f3-805e-5864d045efd9/JSP_MTS_86.085.jpg Exhibitions - Mary T. Smith Mississippi Metal On Highway 51 April 19 - June 08, 2024 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/da51e47d-0287-4130-97ad-4fa467656024/Slide+16_9+-+232.jpg Exhibitions - Robert Oglander Busy Every Day April 19 - June 08, 2024 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/62312f64-764d-4e5d-96a9-2c1509ba89eb/Frame+82.jpg Exhibitions - Richard Dial Everyday Love February 23 - April 13, 2024 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/51caefaa-3a62-4a89-83c4-22658ec69bce/image000000.jpg Exhibitions - Kiah Celeste Chaos! Is Restored February 23 - April 13, 2024 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/d126f757-4e35-4fed-aa1d-bf6afbf28332/Chae193-13.jpg Exhibitions - John Hee Taek Chae A Dark and Bloody Ground November 17, 2023 - February 17, 2024 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/3a4ff99e-c4cc-439f-9f25-6e4bd633ff4c/008-eclipse.jpg Exhibitions - Pagan Babies September 14 - November 4, 2023 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/90562bdb-d3a4-4b50-8f1b-cc373f25f45f/0006_%23%23%23.jpg Exhibitions - Institute 193 Presents Cooper L. Gibson: Ghosts I Saw September 14 - November 4, 2023 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/d4200085-9620-45ab-a33a-08f02a1e3328/coulter1.png Exhibitions - Coulter Fussell Downriver July 21 - August 26, 2023 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/25436ede-9306-43da-924b-41966061dfa1/Pink+Waterpark.jpg Exhibitions - David Onri Anderson Rapture May 27 - July 8, 2023 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/b6aad118-df57-4311-883a-f7c33fe298f8/weems+horizontal.jpg Exhibitions - Photos by Weems Curated by Maxine Payne March 30 - May 20, 2023 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/2b9436d1-aca8-4490-bbc7-89b0821a24ae/Still+2.png Exhibitions - Institute 193 Presents Sarah Moyer: A Sudden Blow March 30 - May 6, 2023 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/7cf86063-7fbd-473f-bf31-4f625069c120/resized+Jordan_HiRes_Composite.jpg Exhibitions - Captain William E. Jordan He Paints in the Dark January 20 - March 18, 2023 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/df7387df-c0d4-4505-9af6-3291818a7b9a/%2339A.jpg Exhibitions - Oraien Catledge Picture Man October 7 - December 22, 2022 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/c2bd0180-fd55-4f68-8e9c-0f829df84074/IMG_4231.jpg Exhibitions - Jayne County Penis Planet April 6 - May 28, 2022 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/e18f92c6-493c-4388-a983-fae11e2962f1/IMG_3773+wide.jpg Exhibitions - Hawkins Bolden Seated January 12 - March 26, 2022 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635783576298-2E994J36F0DFH4WM1LYR/RMC_Neighborhood_3_rtpjwm.jpg Exhibitions - Rose Marie Cromwell A More Fluid Atmosphere November 10 - December 18, 2021 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1632849800544-WLF4M1EDCDYE8HPNFOF3/almostheaven+cover+copy.png Exhibitions - Molly Z.G. Almost Heaven :^) October 7 - November 6, 2021 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1630531491864-A1VWRDUBN42B6O649ORG/TheVisitingHour%5Bdetail%5D1.jpg Exhibitions - Mike Goodlett Desire Itself August 28 - October 2, 2021 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1623425550413-E6GPL9UV409XL5WXLF67/IMG_4204.jpg Exhibitions - Dianna Settles Olly Olly Oxen Free June 17 - July 31, 2021 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1620407289604-NOGGO17DD9KFH0A1FW27/Leroy+Almon+Sr.+by+Roger+Manley.jpeg Exhibitions - Leroy Almon The Miracle Book May 7 - June 12, 2021 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1615304712022-RD6WZR934YH4D6FQJ7F1/altartotheliver_SWANFLYERPIC.jpg Exhibitions - Y. Malik Jalal Altars to the Liver March 10 - April 24, 2021 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611104658274-9CEQQ3DKED0S3NP4BGPD/Taurus+in+The+Forrest.jpg Exhibitions - Lawrence Tarpey Subconscious States January 20 - March 6, 2021 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1605734974863-CKTR93M14USWD92ILJNE/Christina.jpg Exhibitions - Patrick Smith The Intimacy of Others November 18, 2020 - January 16, 2021 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1601052221836-DDK3A0OZO7GA3P2FIAYJ/303A2414B+MID.jpg Exhibitions - James R. Southard Why Buy the Cow October 7 - November 14, 2020 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1597346548539-33870PR7F3K7I39CTMRZ/for200709_193-18.jpg Exhibitions - Melissa Watt Symmetry Breaking August 20 - October 3, 2020 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1585332432291-HA2XWUU2G3NTGQ1IWF02/CosmicGiggles.jpg Exhibitions - Charles Williams Cosmic Giggles March 5 - October 1, 2020 New York, NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1591897767621-JR33M67BV0OTG3CFUOI2/JL_Hobo_Birdman_764.jpg Exhibitions - Joe Light Hobo # Birdman June 11 - August 1, 2020 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1591899263343-G5MM8OFGQC57191VBG3Y/IMG_10.jpg Exhibitions - Ed McClanahan Out of Hand April 16 - June 5, 2020 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1581112554368-YWDXNJN3PVHE6MWER8CH/MelvinWay.jpg Exhibitions - Melvin Way Xerography February 12 - April 4, 2020 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1582405964790-BHT4P90OKJEIN67HLLAN/floatingintime.jpg Exhibitions - Austin Eddy Cold on the Fourth of July February 27 - March 1, 2020 New York, NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1572983470544-DC2R0F42L0HMN816OGZH/image-asset.jpeg Exhibitions - Aaron Skolnick Your Voice Lying Gently in My Ear November 6 - December 21, 2019 New York, NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1575754932921-J7T6LWO33P6BIF93O85X/Repose%2BXIII.jpg Exhibitions - Amy Pleasant Someone Before You November 9 - December 20, 2019 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570309826751-TDBOY7ZBFT3FFMF014ZQ/SD4.jpg Exhibitions - September Diencephalon Children Dance On Water I Wonder Why They Wash Away Sometimes September 28 - November 2, 2019 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1567614300428-TRAJ457BJ0RKPZ6DEJ0R/Henry+Speller%2C+Untitled++%28Three+Women%29%2C+24++x+18+inches%2C+ca+1983-1988.jpg Exhibitions - Henry Speller Mother Wit September 12 - November 2, 2019 New York, NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1565191532504-J7HV210H3UQZF7WSJ29D/SZ2.jpg Exhibitions - Sarah Zapata Speculative Monuments August 7 - September 20, 2019 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1563378577661-28GDR20XKUPDDR0I8JBR/Alice%2BWong%252C%2BUntitled%2B1%252C%2B2019%252C%2BMixed%2Bmedia%2Bon%2Bfound%2Bimage%252C%2B4.75_x2.75_.jpg Exhibitions - Tan Lines August 8 - 31, 2019 New York, NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560023409653-N6MUIN95Q0XID4VS5J7O/14_Rhein_Lifeline_Me+and+Ken_1996.jpg Exhibitions - Eric Rhein Lifelines June 19 - July 27, 2019 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556400342205-PK9699HFXLFMEREVJ4V9/Cole3.jpg Exhibitions - Kevin Cole All Tied Up In Politics April 27 - June 16, 2019 New York, NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557333860610-OMH918SFZM5KRJ2JTYDV/201903p_Up%2BIn%2BDown%2BOut_2019_oil%2Bon%2Bcanvas_72x96inches_photo%2BJoe%2BParra_cropped.jpg Exhibitions - Emily Ludwig Shaffer From the Ha-Ha Wall Comes the No-No Dance May 3 - June 8, 2019 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557331074340-5ORM1JQNKDWTUR0N2W97/235WK.JPG Exhibitions - Wihro Kim Memorandumland March 23 - April 27, 2019 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554576260100-RP65BP502HODXNP9CLT1/1215991.jpg Exhibitions - Jonathan Williams Poems and Polaroids March 9 - April 14, 2019 New York, NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553372355922-LZAR5FAT6G6H49UCGRI0/4278a828496d38f3-RM_SlowDeath.jpg Exhibitions - Roger Manley and Guy Mendes Miscellaneous February 13 - March 16, 2019 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553372554106-TRSNGFWB46WS5N7M44TI/73b285fa740cfc09-ZC1small.jpg Exhibitions - Zane Campbell Alcoholic Janitor January 9 - February 12, 2019 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554576507485-XS8I8CSPLIQ1R1QYACTG/John+Martin+Tools+-+Large+Image.jpg Exhibitions - John Martin John Martin’s Toolbox November 10, 2018 - January 1, 2019 New York, NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1547694630191-5MXBZ93UG0BV5J241B2I/Stephen+Varble+%282%29+cover.jpg Exhibitions - Stephen Varble An Antidote to Nature’s Ruin on the Heavenly Globe, Prints and Video of the Early 1980s October 20 - December 1, 2018 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1547694544292-DVMGO9JDUBNA97BIUKS4/EOM_01_cover.jpg Exhibitions - Eddie Owens Martin Pasaquoyanism In the City September 26 - November 3, 2018 New York, NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554656299585-SRIX83O7WDWK8DT2FE2C/4461d3b932b5ef46-Carter_Astronaut_In_Red_Jacket.jpg Exhibitions - Melissa Carter New Masters August 31 - October 13, 2018 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554656423229-Z81QHX6YEWE7M7S6AXN0/6cc3b2661757516c-untitled2017_90x515.jpg Exhibitions - Martha Clippinger Two Sides/Dos Lados June 29 - August 11, 2018 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554672423961-PU5S21DUNRFQLDQ4QDNV/461bd6fe484ed9a5-25X33OilonCanvas.jpg Exhibitions - Eddie Owens Martin Pasaquoyanism May 4 - June 22, 2018 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554670679047-S9VPRKN8D1BK1MSQWNF5/Byron%2BSmith%252C%2BUntitled%252C%2B2017%252C%2BPencil%2Bon%2BPaper%252C%2B14_x17_.jpg Exhibitions - Byron Smith Cover Girls February 22 - March 31, 2018 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555275492465-EEVMEB7NB7V0UDVTYEV9/ManLeaningonWindowsill.jpg Exhibitions - Edward Melcarth Rough Trade January 13 - February 17, 2018 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1554661112416-IR33BTRKZX7WJ0KOWOOZ/frank3.jpg Exhibitions - Jill Frank everyone who woke up at the yellow house November 3 - December 9, 2017 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1555267462490-WTNSWV8145VBPTJPG1RG/angel+hires+edit.jpg Exhibitions - Howard Finster Prophecy on Plywood September 14 - October 21, 2017 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560018153576-WZPBY5NUO9W7HTW36DQK/90ec9659f6db2a0f-vanderbeek_microcosmos-300dpi.jpg Exhibitions - Stan VanDerBeek Form Comes Out of Chaos July 6 - August 12, 2017 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560102581312-ZOD2XTLJLI7M0AWEU72E/ee375c41917cc1c8-BB_8+%281%29.jpg Exhibitions - Beverly Baker Underlying Colors May 25 - July 1, 2017 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560105853663-DHUVCIY5JHDRJUF98T8A/23fc9a84d453e413-RT3%2B%25281%2529.jpg Exhibitions - Robert Tharsing Second-Hand Shapes May 4 - May 20, 2017 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560114310852-HDAASP7HQ7OKTJ8R4P7I/076618619a50a95d-4_SPOONS.jpg Exhibitions - Eric Oglander Making Tools March 31 - April 29, 2017 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561308685852-4M4JU63G4GU5DU6F8VJS/5d7e56616972478c-MT_SELFPORTRAIT_3_virb.jpg Exhibitions - Moses Tolliver Self-Portraits of Me February 16 - March 25, 2017 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561308661751-39XJ8IH251ZYYDDY7G24/faf4c1f75cb00a09-Yeswave_large.jpg Exhibitions - John Harlan Norris Disintegrants January 5 - February 11, 2017 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560021038045-CKF326H8ZNSDZH1PA9B8/ea666dd7db7d99e3-DSC_00632.png Exhibitions - Louis Zoellar Bickett Selections from the Art Collection October 27 - November 26, 2016 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561308642516-LK24ZVDP36NOD9R8QYV1/794a9400c8e890fa-Image3-25-17at203PM.jpg Exhibitions - Layet Johnson Is This My Tongue September 15 - October 22, 2016 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561308625494-WC9164J1DXZRLS56GJ67/1f32d99c80c50025-JBH_12.jpg Exhibitions - James Baker Hall Super 8 June 1 - July 9, 2016 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561563199739-HCLY1V282H1S01XQVP8E/afc300bb504eab3b-NB_2.jpg Exhibitions - Natalie Baxter OK-47 March 2 - April 23, 2016 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562598799349-L2S7ENDLCSFD8WMIG4JP/8bcb8a8dc0449cde-APP_Starbucks_crop_850_border.jpg Exhibitions - Joy Drury Cox Please Print Legibly January 20 - February 27, 2016 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1562957916447-DEMFK3E3RNN9C2LTYWU3/5a08033ea9aea4a0-cover_reduced1200.jpg Exhibitions - Nina Howell Starr The New Yorker Project November 5 - December 12, 2015 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568722990009-M0QST4LL9EVXHXU0E5I4/320cd91c11ae6c69-deluge.jpg Exhibitions - Erin Eldred Fabricate September 30 - November 7, 2015 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568729720548-1ZJDDNTQFPYJT3ZBW518/4c6149efc4d33354-1MakeupApplied.jpg Exhibitions - Matt Minter Makeup Applied August 14 - September 26, 2015 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568739468208-XDQAKKKSI1PO7JCLCBIV/01313526b077f232-DSC_0092_reduced.jpg Exhibitions - Adam O’Neal Hard Work June 27 - August 1, 2015 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568742415406-6RNJKF7AD5QHH8VXCUH2/fad31bf08baaab88-IMG_48553.jpg Exhibitions - Lloyd “Hog” Mattingly Memories of Lebanon Junction May 20 - June 20, 2015 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568889804352-52P9E7KJNC1Q58CYDWYW/step1.jpg Exhibitions - Stephanie Dowda Genius Loci April 3 - May 16, 2015 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568890396598-PWKT3IV1SYMDDYJ66BTM/hay1.png Exhibitions - T. A. Hay Farm Works February 12 - March 21, 2015 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568891114006-KDKJHX32UVEUWOQF75GF/M1.jpg Exhibitions - The Massengill Family Making Pictures: Three For A Dime October 9 - November 15, 2014 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568893594296-EV9ZG4A4U7UMPGC732R3/speer1.jpg Exhibitions - Jordan Speer Cautious V September 4 - 27, 2014 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568893569322-VAYRR65ZNTVIYKDWIPJI/shara2.jpg Exhibitions - Shara Hughes Midnight Snacks July 30 - August 30, 2014 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568894781738-9I8NFEVB6E2IS76U5JIL/meat1.jpg Exhibitions - Ralph Eugene Meatyard Photographing Thomas Merton June 17 - July 26, 2014 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568895440958-UL3W3XLLX9XI3O97EXFP/ma1.png Exhibitions - Ma Turner ZOZ Collection March 7 - April 30, 2014 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568896496581-IWZDK4Y4BQG40S45JKIL/image-asset.jpeg Exhibitions - Frank Döring Coalscapes January 23 - February 26, 2013 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568899132388-L69RGJITVOMOT2XT60RL/aa1%2Bcopy.jpg Exhibitions - Aaron Skolnick Pick Me Up and Turn Me Round November 14 - December 21, 2013 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568908437322-FEYZO4X6DPO3H5AS0UEV/carey1.jpg Exhibitions - Carey Gough A Music So Subtle and Vast October 10 - November 9, 2013 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568975474638-Y2FBAZ5HDJTS20OWFNZP/j1.jpg Exhibitions - John Martin Multi-tools September 5 - October 5, 2013 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568975279126-I489PWAEQGNOR3UV5LFZ/1.jpg Exhibitions - R. Clint Colburn History of Aezous: Abandon Poles June 21 - August 24, 2013 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568887321218-XIRAD9J2XH5K1GPU15MO/Holley2%2Bcopy.jpg Exhibitions - Lonnie Holley Stepping in the Footprint April 18 - June 15, 2013 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568991712505-4TYTNOKIU24XABKJQPO6/1.jpg Exhibitions - Sameer Reddy Apokalypsis Now February 15 - April 6, 2013 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569065656514-N3P8P2MYYF66YORC8YSU/e1.jpg Exhibitions - E. K. Huckaby Department of Dysiatrics January 11 - February 9, 2013 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569066801987-KXH49DYYDSOF53P73YDB/1.jpg Exhibitions - Colleen Toutant Merrill Amended Artifacts November 1 - December 15, 2012 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569069859090-HJX6NA9RMHVYXFJIM3VA/1.jpg Exhibitions - Tommy Taylor Shadowland September 6 - October 27, 2012 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569334730133-325Q2QNIRY1UDVLP9E0V/1.jpg Exhibitions - Jonathan Williams A Palpable Elysium May 24 - July 21, 2012 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569659984677-UFQG4DDXHW1I9VLUH9DY/1.jpg Exhibitions - Marvin Francis Contemplating Time March 8 - May 4, 2012 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1569932955624-4445XMDAO0ACHWOLZDU3/d07f0cd56caa499f-6950790592_d5e6b2bf5a_o.jpg Exhibitions - Albert Moser Designs January 12 - February 11, 2012 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570715990483-RSYBJV5U6YJ5G8KVPHVZ/GoodlettDressSocks.jpg Exhibitions - Mike Goodlett Dress Socks and Other Diversions September 29 - November 26, 2011 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570716433833-JIQ29NQX3MNF9D4GGIHG/1.jpg Exhibitions - Robert Beatty Cream Grid Reruns July 21 - September 24, 2011 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570717126673-QCZ427VUO891DNZDL7C0/1.jpg Exhibitions - Lina Tharsing Natural History March 21 - May 28, 2011 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570717747288-5KYRBTKBPLF2PESBQIY6/1.jpg Exhibitions - J. T. Dockery Spud Crazy February 3 - March 26, 2011 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1570718316896-UK8TP8TKLK0CWSYDLZHT/1.jpg Exhibitions - Guy Mendes 40/40: 40 Years, 40 Portraits December 9, 2010 - January 29, 2011 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1560017209915-IGE0EPSY8TREQ4QG6W6M/CW_Pencil_Rocket_1092.jpg Exhibitions - Charles Williams Silo #3 October 7 - December 3, 2010 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571318951735-MGNLWW98CQOZ6C67W157/1.jpg Exhibitions - SO-IL Future Archaeology September 9 - October 2, 2010 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571498233692-TQ5H6FQ11AAHL49PR2GV/1.jpg Exhibitions - Travis Shaffer Residential Facades August 12 - September 5, 2010 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674086731-OIVH65NM0G2FDANJV6GC/1.jpg Exhibitions - Jessie Dunahoo Sheltered Environment May 20 - July 3, 2010 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571674602771-VORS1RBV4A7GAV96YT57/1.jpg Exhibitions - Robert Morgan All That Glitters… April 15 - May 15, 2010 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675014917-VZ2S72OP5ICH08OX5RUR/1.jpg Exhibitions - Mare Vaccaro Multiple Personalities March 24 - April 10, 2010 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571675484565-MR59FLFCSCYPVVYXQS4M/2.jpg Exhibitions - Bruce Burris We Will Someday, Someday We Will January 14 - February 20, 2010 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1571676019454-Q4CN0V9YKAIM92RGZVXQ/2.jpg Exhibitions - Louis Zoellar Bickett Selections From The Archive October 15 - November 30, 2009 Lexington, KY https://www.institute193.org/publications daily 0.75 2026-03-30 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/68d273bf-a4f9-4d66-b55e-713d39fcd2b1/Untitled-1.png Publications - Life, Art, Community, and Cookery Marina Ubaldi Ritter and Lucinda Zoe with Michael Kelsay & The Carrot Cake Collective Forthcoming May 2026 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/163f4da8-679e-4104-85e3-2beeb2cdb746/DSC00052.jpg Publications - Footpaths and Barricades Sasha Tycko Softcover 8 x 5 inches / 16 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/87686791-bbbb-4a8f-bfd2-9a97c7c38e14/R0000850.jpg Publications - In The Round Case Mahan Text by Whitney Baker Unbound Publication 6 x 9 inches / 41 cards https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/65de7a4a-9519-453d-b32d-244b3ba33db7/front+cover.jpg Publications - Pagan Babies John Denny Ashley, Robert Morgan, and the Pagan Babies Essays by Kevin Nance and Jonathan Coleman Hardcover 166 pages with 55 illustrations 12.25 x 12.25 inches https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/755b80ac-1c67-42f1-a385-b8d14ef718c6/IMG_4331.jpg Publications - Seated Hawkins Bolden Text by Maria Owen Unbound Publication 5 x 7 inches / 10 cards https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1602874583806-JDBE7A3HA3OVOKFYDM9I/Eric_Rhein.jpg Publications - Lifelines Eric Rhein Text by Eric Rhein, Mark Doty, and Paul Michael Brown Hardcover 9 x 9.75 inches / 112 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1602875800179-YWWF8TWPNGL67TEH777W/MW_postcard_set2.jpg Publications - Symmetry Breaking Melissa Watt Text by Emma Friedman-Buchanan Unbound Publication 3.25 x 8.25 inches / 10 cards https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1602877123721-WZL12WZIKZYOCGG37GNT/EM_Postcards_finished.jpg Publications - Out of Hand Ed McClanahan Text by Elizabeth Glass Unbound publication 5 x 4 inches / 13 cards https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/0be0e3cd-cef4-4f12-bbb2-ac08ad409e62/cg_mockup_2.jpg Publications - Cosmic Giggles Charles Williams Softcover 8.5 x 11 inches / 179 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/8659068c-10db-4c11-a93b-d9b1e699f9a8/Institute193_01.jpg Publications - The Messenger's Mouth Was Heavy Amy Pleasant Softcover 9 x 11.5 inches / 248 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/8364bd35-241f-4b60-8001-2d23c491ef27/TYTM%2CJoe+Minter.jpeg Publications - To You Through Me Joe Minter Softcover 8.5 x 11 inches / 136 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/f5125428-bf06-45c9-9dde-bcccb87263eb/lost_atlanta.jpeg Publications - Lost Atlanta, 1981 Mimi Gross Softcover 8.5 x 14 inches / 64 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/5c67c20c-ed77-45ee-9b10-6b56aaf38527/193%2Bbook%2B5.jpg Publications - John Harlan Norris: Disintegrants Softcover 9 x 12 inches / 62 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/528c5fe2-627d-4414-a0f6-11feaa97920c/WTPG.jpeg Publications - Walks to the Paradise Garden Edited by Phillip March Jones Text by Jonathan Williams Photos by Roger Manley & Guy Mendes Hardcover 6.5 x 9.25 inches / 352 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/ca48b833-4cb2-4fbe-8e70-c51e3b0c2206/20SVAntidote.jpg Publications - Stephen Varble: An Antidote to Nature's Ruin on this Heavenly Globe David Getsy Softcover 5.5 x 8.5 inches / 60 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/40ca1801-676e-4699-8ce5-8c775c78ba00/IMG_4338.jpg Publications - Inventory of the Studio and Archive Production Louis Zoellar Bickett Softcover 8.5 x 11 inches / 580 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/d3a652f9-9b64-4016-bc89-416d73dcdd27/IMG_4289.jpg Publications - We Run Away And We Don’t Know Why Aaron Skolnick Softcover 5.25 x 8.25 inches / 17 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/8881dcba-9d92-4c1f-8db6-18b89aee14ed/Please+Please+copy.jpg Publications - Please Please Mike Goodlett Softcover 20 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556477089801-MZVG8Q2MIPWWE3YPZXWE/Tharsing_front_cover.jpg Publications - Robert Tharsing: A Retrospective Softcover 9.5 x 9.5 inches / 310 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/fb2f6048-307f-46ae-b1e5-3a488181e6d5/IMG_4291.jpg Publications - The Misleidys Francisca Castillo Pedroso Coloring Book Softcover 14 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/f5e3a2ba-dc45-47fa-af55-b69f1a76d6b0/IMG_4302.jpg Publications - Adam O’Neal: Ocean Drive Introduction by Cat Wentworth Softcover 5.5 x 8.5 inches / 33 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/b839a2cb-bc91-4434-9036-8c99071a8012/IMG_4306.jpg Publications - Making Pictures: Three For A Dime Photographs by the Massengill Family Hardcover 6.25 x 8.5 inches / 180 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/e68545a9-4026-40e6-826c-14de07e2c459/IMG_4322.jpg Publications - Institute 193: Volume One Edited by Chase Martin and Phillip March Jones Hardcover 9 x 12 inches / 160 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/89988bc7-c2b8-4ef2-8e5c-9c45610fd89c/IMG_4316.jpg Publications - Meatyard/Merton, Merton/Meatyard: Photographing Thomas Merton Thomas Merton and Ralph Eugene Meatyard Softcover 11 x 8 inches / 42 pages https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556486509666-BM8TA0DT5G4FKMREU19W/IMG_2103.jpg Publications - Room With A View Postcards Robert Tharsing https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/11740961-8bb7-410e-810b-7a353380800f/IMG_4314.jpg Publications - 40/40: 40 Years, 40 Portraits Guy Mendes Softcover 9 x 12 inches / 93 pages https://www.institute193.org/publications-louis-zoellar-bickett daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/03a973b4-6a4f-45c3-aebd-d936c28fc00f/IMG_4338.jpg Publications: Louis Zoellar Bickett - Inventory of the Studio and Archive Production Louis Zoellar Bickett Softcover 8.5 x 11 inches / 580 pages https://www.institute193.org/publications-stephen-varble daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/29581b5b-9171-4587-b26b-972db4e54ac9/20SVAntidote.jpg Publications: Stephen Varble - Stephen Varble: An Antidote to Nature’s Ruin on This Heavenly Globe Edited by David Getsy Softcover 5.5 x 8.5 inches / 60 pages https://www.institute193.org/publications-institute-193 daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/fb9f3ce7-4253-4195-b6af-98ed395b0267/IMG_4322.jpg Publications: Institute 193 - Institute 193: Volume One Edited by Chase Martin and Phillip March Jones Hardcover, 9 x 12 inches / 160 pages https://www.institute193.org/publications-jonathan-williams daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/e34c337b-49eb-4371-b0aa-52389b1d123e/WTPG.jpeg Publications: Jonathan Williams - Walks to the Paradise Garden Edited by Phillip March Jones Text by Jonathan Williams Photos by Roger Manley & Guy Mendes Hardcover 6.5 x 9.25 inches / 352 pages https://www.institute193.org/press daily 0.75 2026-01-22 https://www.institute193.org/off-site daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/6587a151-1302-472b-b85e-2929b499b7ec/059A5976.jpg Off Site - Robert Morgan: Saints & Martyrs Sheriff Gallery February 1 - February 28, 2026 Paris, FR https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/115bc382-3e2a-4f72-b8b4-9ea12dbae8db/Heading_Home.jpg Off Site - Carey Gough: HORSEDREAMER Mulberry & Lime July 22 - August 30, 2025 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/ae3dd4e0-2048-4e48-8444-f8331fce902b/kadist+event-22.jpg Off Site - Portals, Pathways, and the Spaces Between Us Coldstream Park June 29, 2025 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/8bc0bb2e-3eec-4462-a03e-13bd8ff02664/Chae_009.jpg Off Site - Southern Democratic The Carnegie September 26, 2024 - February 15, 2025 Covington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/d68968f0-4ead-413c-b889-2d800e5ff544/2024-8-14-Hawkin-Bolden-Hi-res-11.jpg Off Site - Hawkins Bolden : Insight Mana Contemporary May 19 - August 15, 2024 Jersey City, NJ https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/f1e7e7d1-e3ce-4804-9b34-fed0997eb560/ATON+EDIT+2.jpg Off Site - Ayé Aton : Duality Emory University October 20, 2022 - January 15, 2023 Atlanta, GA https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593634912308-GK2OBA3AARP3512C3YLC/17.jpg Off Site - Where Paradise Lay KMAC June 19 - November 8, 2020 Louisville, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1593636909971-AMD2CTZ80Q55G7SL6ABB/image-asset.jpeg Off Site - Jessie Dunahoo The Carnegie July 5 - August 28, 2020 Covington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583101245418-E2ZO0IDQHN70PJFF7HZM/CharlesWilliams.jpg Off Site - Charles Williams: The Life and Death of Charles Williams Atlanta Contemporary January 23 - August 2, 2020 Atlanta, GA https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1580595555620-9R5MPMH5971CL8KSXBC5/3_EricRhein_AutomatedBloodCounts%2BandDifferential.jpg Off Site - Eric Rhein: Lifelines 21c Museum Hotel June 24 - September 8, 2019 Lexington, KY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1561475964995-TZ6E9LKERIFE7LONCM0J/IMG_5340.jpg Off Site - Mimi Gross: Lost Atlanta Atlanta Contemporary June 20 - August 4, 2019 Atlanta, GA https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1557589068680-K30MMPUWMYFLK0MVBKRK/Bruce_Burris_install_01.jpg Off Site - Bruce Burris: We Will Shed Some Blood to Save Our Mountain! A.L.S.O. (Shrine and Sargent’s Daughters) April 28 - June 2, 2019 New York, NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1583108170287-5X2KKAGMV0VZ0KXASMDQ/WayOutThere.jpg Off Site - Way Out There: The Art of Southern Backroads High Museum of Art March 2 - May 19, 2019 Atlanta, GA https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553015577880-ZJ84Z0UMH53OPAN92V1W/EDK11_cover.jpg Off Site - Summer Studio The Elaine de Kooning House June 25 - September 15, 2018 East Hampton, NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1594747239693-YUT9K0N6O6L7FTVNGP0G/Bickett_001.jpg Off Site - The Archive: Louis Zoellar Bickett Andrew Edlin Gallery March 3 - April 15, 2017 New York, NY https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1553015345853-A1OLOA84SM0VEJMU073A/ACInstallationView2+_cover.jpg Off Site - Swimming Them Homeward Atlanta Contemporary March 2, 2017 - April 30, 2017 Atlanta, GA https://www.institute193.org/publications-aaron-skolnick daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/2e76ca56-3314-4871-b563-9f4bbf3ddf05/IMG_4289.jpg Publications: Aaron Skolnick - We Run Away And We Don’t Know Why Aaron Skolnick Softcover 5.25 x 8.25 inches / 17 pages https://www.institute193.org/publications-meatyardmerton daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/60745782-8214-49fc-b433-60c00938b3eb/IMG_4316.jpg Publications: Meatyard/Merton Meatyard/Merton, Merton/Meatyard: Photographing Thomas Merton Thomas Merton and Ralph Eugene Meatyard Softcover, 10.8 x 8.3 inches / 42 pages https://www.institute193.org/publications-guy-mendes-4040 daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/faf99e09-c051-4565-9f6b-7b1e4f9955ff/IMG_4314.jpg Publications: Guy Mendes 40/40 - 40/40: 40 Years, 40 Portraits Guy Mendes Softcover, 9 x 12 inches / 93 pages https://www.institute193.org/publications-massengills daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/aa4085b1-c595-4128-ab55-77c2724027ba/IMG_4306.jpg Publications: Massengills - Making Pictures: Three For A Dime Photographs by the Massengill Family Hardcover, 8.5 x 6.25 inches / 80 pages https://www.institute193.org/publications-pedroso-coloring-book daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/141a07f9-48fd-4e7c-81af-d68bf7e4e823/IMG_4291.jpg Publications: Pedroso Coloring Book - The Misleidys Francisca Castillo Pedroso Coloring Book Misleidys Francisca Castillo Pedroso Softcover / 14 pages https://www.institute193.org/publications-mike-goodlett daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/963430ba-2477-4fb1-af5b-695cda27b512/Please+Please+copy.jpg Publications: Mike Goodlett - Please Please Mike Goodlett Softcover 20 pages https://www.institute193.org/publications-robert-tharsing daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556477364897-MTPB35I6ULBFNKZ7DTLE/Tharsing_front_cover.jpg Publications: Robert Tharsing - Robert Tharsing: A Retrospective Published with the Lexington Art League Softcover, 9.5 x 9.5 inches / 310 pages https://www.institute193.org/publications-adam-oneal daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/f77371e3-73b9-4c65-ad66-e53d5e449a5c/IMG_4302.jpg Publications: Adam O'Neal - Adam O’Neal: Ocean Drive Introduction by Cat Wentworth Softcover, 5.5 x 8.5 inches / 33 pages https://www.institute193.org/publications-postcards daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556486692971-3PCR0EER84Q2005XMXX9/IMG_2103.jpg Publications: Postcards - Room With A View Postcards Robert Tharsing https://www.institute193.org/supporters daily 0.75 2025-06-25 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556742817377-R4C8AHRJVON9M8WQGLY7/AndyWarhol_Black+copy.png Supporters https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556742817326-90M4NM83FFXNUW15NVRG/ArtsCouncilLogo_Black+copy.png Supporters https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1711642167799-KVZF3JIPK8A8RSRKAHSL/White%2BRUTH%2BART%2BLOGO_Small.jpg Supporters https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556742817723-649E5FX5X9NGQT4AEO1A/Visit_Lex_Black+copy.png Supporters https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556742817611-Q7WE8ZL626IL29FRKGWO/Lex_Arts_Black+copy.png Supporters https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556742817626-GUBRLHQZMSVRQ0JQEJT1/RedMile_Black+copy.png Supporters https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1733935864763-J9USSH298O089TUWY400/JedraLogoWhite.jpg Supporters https://www.institute193.org/sound-anna-elizabeth daily 0.75 2020-02-08 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556650365218-K4RCC817QK9OW8X2VY8Z/annacover.jpg Sound: Anna + Elizabeth - Anna + Elizabeth The Invisible Comes to Us https://www.institute193.org/sound daily 0.75 2021-11-02 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635795861158-VVN1625ZEPS1YWOVZ932/ACIRCLEOFATOMSCOVER.jpg Sound - A Circle of Atoms The Pasaquan Sessions https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556649866835-EQH967GLROFLVTF6KZCG/annacover.jpg Sound - Anna + Elizabeth The Invisible Comes to Us https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556984519497-UB7EJ5H70523R08O32RN/robert-beatty--soundtracks-for-takeshi-murata_1200.jpg Sound - Robert Beatty Soundtracks for Takeshi Murata https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556983731710-2FJ3GVE014KN4UPGJ20L/HOLLOWSESSIONS_SOLLEE.jpg Sound - Ben Sollee The Hollow Sessions https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556983029536-EX1T4286EGUB2IXLSNTC/193sound.png Sound - 193 SOUND A compilation of southern sounds https://www.institute193.org/home daily 1.0 2026-04-02 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1773320069588-M50YJ0Q0DUX7QPK07DMK/Brian_Jeep_Mirror_001_300dpi.jpg Home - Greg Reynolds Double Life Institute 193 March 13 - April 25, 2026 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1775154139242-Y6DO748J9TK8KVQ3FNOA/Robert%252BBeatty_phantom%252Bpassthrough.jpg Home - Robert Beatty Recent Prints 193 SHOP March 20 - April 25, 2026 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762883872258-I0VNAHGQ7ZKI2SCVJPE1/Screenshot+2025-11-11+at+11.36.16%E2%80%AFAM.png Home https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762883871275-EUL8271ER6EK6LK77CIQ/Screenshot+2025-11-11+at+11.36.24%E2%80%AFAM.png Home https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762883871125-7U4YTLVRBX0QSGCWHGO9/Screenshot+2025-11-11+at+11.36.32%E2%80%AFAM.png Home https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762883870182-J7PRD2U52CU8M4JG54TX/Screenshot+2025-11-11+at+11.36.38%E2%80%AFAM.png Home https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762883869064-1MIKNCEPA2IQAYMV5CCR/Screenshot+2025-11-11+at+11.37.05%E2%80%AFAM.png Home https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762883869021-V7EQE65M858O9KCTCN2R/Screenshot+2025-11-11+at+11.36.58%E2%80%AFAM.png Home https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1762883870050-JQ79INZIYWKIJHTZYLD0/Screenshot+2025-11-11+at+11.36.50%E2%80%AFAM.png Home https://www.institute193.org/sound-193-sound daily 0.75 2019-11-24 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556983217779-CEDUDXLTGH5W13UYZFSW/193sound.png Sound: 193 Sound - 193 Sound A compilation of southern sounds https://www.institute193.org/sound-ben-sollee daily 0.75 2022-06-18 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556983850573-KMEF34OROUAAT2V16R5X/HOLLOWSESSIONS_SOLLEE.jpg Sound: Ben Sollee - Ben Sollee The Hollow Sessions https://www.institute193.org/sound-robert-beatty daily 0.75 2022-06-18 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1556984703800-J0CQJMKYD3O0T2246T1B/robert-beatty--soundtracks-for-takeshi-murata_1200.jpg Sound: Robert Beatty - Robert Beatty Soundtracks for Takeshi Murata https://www.institute193.org/publications-john-harlan-norris daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/5bffdf1c-e6f1-4aff-9040-413f07b48cb0/193%2Bbook%2B5.jpg Publications: John Harlan Norris - John Harlan Norris: Disintegrants John Harlan Norris Softcover, 9 x 12 inches / 62 pages https://www.institute193.org/publications-mimi-gross daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/3417fd65-515c-40d9-8946-1ef35ccdabf2/lost_atlanta.jpeg Publications: Mimi Gross - Lost Atlanta, 1981 Mimi Gross Softcover, 8.5 x 14 inches / 64 pages https://www.institute193.org/10-year-dinner-and-auction daily 0.75 2025-04-04 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1568487149107-OH8REDAII235SRM1WO9J/rec-ani.gif 10 Year Dinner and Auction https://www.institute193.org/publications-joe-minter daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/55123564-543d-445b-8003-41a7baa0f30c/TYTM%2CJoe+Minter.jpeg Publications: Joe Minter - To You Through Me Joe Minter Softcover, 8.5 x 11 inches / 136 pages https://www.institute193.org/publications-amy-pleasant daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/d0017153-8150-4222-8821-15d8fc093a13/Institute193_01.jpg Publications: Amy Pleasant - The Messenger's Mouth Was Heavy Amy Pleasant Softcover, 9 x 11.5 inches / 248 pages https://www.institute193.org/publications-charles-williams daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/0f3e3a53-5fc9-47ed-a6a2-014afc1a1d69/cg_mockup_2.jpg Publications: Charles Williams - Cosmic Giggles Charles Williams Softcover, 8.5 x 11 inches / 176 pages https://www.institute193.org/recurring-donation daily 0.75 2024-07-11 https://www.institute193.org/one-time-donation daily 0.75 2020-04-28 https://www.institute193.org/giving-tuesday daily 0.75 2023-11-27 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1588616242231-RBB6A8DGM03AG3COZACF/DSC_1525-2.jpg Giving Tuesday - Giving Tuesday is November 28, 2023 Support Institute 193 this Giving Tuesday by becoming a one-time or recurring donor or purchasing items from our online shop. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1588623676444-ZM4NA5Y8LDK75VYP8TN9/givtuesnow_logo_stacked+Blue+FINALweb.png Giving Tuesday https://www.institute193.org/publications-ed-mcclanahan daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1602877303628-HDDNOUM6RBBAHTZHRNYG/Ed_postcards+%281%29.jpg Publications: Ed McClanahan - Out of Hand Ed McClanahan Text by Elizabeth Glass Unbound publication, 5 x 4 inches / 13 cards https://www.institute193.org/publications-eric-rhein daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1602874984098-XM5FB7RXFSZ5Y2WGQUPX/Eric_Rhein.jpg Publications: Eric Rhein - Lifelines Eric Rhein Text by Eric Rhein, Mark Doty, and Paul Michael Brown Hardcover, 9 x 9.75 inches / 112 pages https://www.institute193.org/publications-melissa-watt daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1602876098101-BVSWIZ8QVPSELUS0NV7T/MW_postcard_set2.jpg Publications: Melissa Watt - Symmetry Breaking Melissa Watt Text by Emma Friedman-Buchanan Unbound publication, 3.25 x 8.25 inches / 10 cards https://www.institute193.org/lawrence-tarpey-limited-edition-prints daily 0.75 2021-01-22 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611332425175-1DWKT7RDRC33IVT0T2XU/Forty+Nights+Ago+Institute+193.jpg Lawrence Tarpey limited edition prints https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1611332429146-G403LVPBO6EODT4CF3OG/Golub+The+Cartographer.jpg Lawrence Tarpey limited edition prints https://www.institute193.org/printed-matter daily 0.75 2021-02-10 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1612990935212-KCRDFAJJ0XLA01QZN9JS/CustomExhibitorPost_Vectors-04.jpg Printed Matter Amy Pleasant: The Messenger’s Mouth Was Heavy Limited Edition https://www.institute193.org/sound-eddie-owens-martins-pasaquan daily 0.75 2021-11-04 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1635795980498-QMBBR2E6AZXWQH1L1HNE/ACIRCLEOFATOMSCOVER.jpg Sound: Eddie Owens Martin’s Pasaquan - A Circle of Atoms The Pasaquan Sessions https://www.institute193.org/publications-seated daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/b6af8877-d372-4609-9cd9-bc1ebecd5535/IMG_4331.jpg Publications: Hawkins Bolden - Seated Hawkins Bolden Text by Maria Owen Unbound publication, 5 x 7 inches / 10 cards https://www.institute193.org/visit daily 0.75 2026-01-07 https://www.institute193.org/donate daily 0.75 2025-03-05 https://www.institute193.org/recurring-donation-copy daily 0.75 2024-09-21 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/a6c45d8f-966a-4c32-a271-44255b5bf97e/Frame+165.jpg Recurring Donation (Copy) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/895a6c38-c3eb-4521-bff4-275bcba00f0b/Frame+165.jpg Recurring Donation (Copy) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.institute193.org/publications-case-mahan daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/10b59383-b4b1-47be-8229-332aca795d87/Frame+220.jpg Publications: Case Mahan - In The Round Case Mahan Text by Whitney Baker Unbound publication, 6 x 9 inches / 41 cards https://www.institute193.org/publications-pagan-babies daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/bb5612ac-39f6-49c2-8ced-1b55e47f01bf/front+cover1.jpg Publications: Pagan Babies - Pagan Babies John Denny Ashley, Robert Morgan, and the Pagan Babies Essays by Kevin Nance and Jonathan Coleman Hardcover 166 pages with 55 illustrations 12.25 x 12.25 inches https://www.institute193.org/publications-sasha-tycko daily 0.75 2025-10-16 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/7589a590-15b6-4ff5-9f24-e2c1afb3f07c/DSC00052.jpg Publications: Sasha Tycko, Footpaths... - Footpaths and Barricades: an Afterword to Ways of the Atlanta Forest Sasha Tycko Softcover 8 x 5 inches / 16 pages https://www.institute193.org/supper daily 0.75 2025-06-25 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/850b5594-e83d-4f55-b983-7b2dff291552/Slide+16_9+-+1065.jpg Summer Supper - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881656268-F354MMY66RG8RBD3MXDO/DSC02073.jpg Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881656274-3ZKA2MR1Y3H9UO8PIBH4/DSC02074.jpg Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881659097-1TWR7ZRHUV0S0E6OMJI9/DSC02075.jpg Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881659241-4RH8N46ZUT2ZZ1YFDJD6/DSC02078.jpg Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881661979-IYWDHKV36TGL0XRWGHZZ/DSC02079.jpg Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881662113-78KKAJKGRJRDGX6ATE4X/DSC02084.jpg Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881665088-A82JY1TJ99GQGA082HBQ/DSC02087.jpg Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881665098-Y6Q37QFUXBFK7WSA1R5V/DSC02089.jpg Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881667238-H0NQT8NTCD139N2YBTPL/DSC02090.jpg Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881667739-0V8ZSP2HWMKDCLH2SX89/DSC02091.jpg Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881771154-D9RLQGTENSUACJ41T98O/Screenshot+2025-06-25+at+4.02.46%E2%80%AFPM.png Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881784821-WZXMB22J4TYPTZKISSZO/Screenshot+2025-06-25+at+4.02.59%E2%80%AFPM.png Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881811951-67N7O59YAN3ZNLAF69P7/Screenshot+2025-06-25+at+4.03.26%E2%80%AFPM.png Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881823788-V8SNZO6XGCOSHZXTMPCH/Screenshot+2025-06-25+at+4.03.39%E2%80%AFPM.png Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881842173-XH609BANUO27IZLM0LST/Screenshot+2025-06-25+at+4.03.57%E2%80%AFPM.png Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1750881858616-W05PU9ETCMS14CO6T7LS/Screenshot+2025-06-25+at+4.04.13%E2%80%AFPM.png Summer Supper https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1126ec37-c0f9-47ac-a8d4-4dae2f809aee/Slide+16_9+-+1067.jpg Summer Supper - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/8ef28dfe-a472-4d82-b7d3-857960eaa8e7/Slide+16_9+-+1068.jpg Summer Supper - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/9dc935d5-d8b6-4621-aa2d-a3dbe30db718/Slide+16_9+-+1071.jpg Summer Supper - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/8840250c-2a83-4696-ba30-7ce8b3795bd6/Slide+16_9+-+1070.jpg Summer Supper - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/52aacb88-f06c-433a-8f07-5d847de0fcce/Slide+16_9+-+1069.jpg Summer Supper - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.institute193.org/advocacy daily 0.75 2025-06-26 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/b4e4177f-0e90-4d4d-87c2-744fcd17aba2/usa.png Advocacy The National Endowment for the Arts is funded by federal tax dollars allocated by the United States Congress every fiscal year. The NEA in turn allocates funds through grants for which state arts agencies and arts organizations must apply and be approved through a rigorous adjudication process. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/674b7d9f-c8df-45ae-9ed3-34bf6a2d0e3d/kentucky.png Advocacy The Kentucky Arts Council is one of these state agencies receiving $968,000 from the NEA in FY26, making up 36% of the KAC budget. The other 64% is matched by state tax dollars allocated by the Kentucky General Assembly which has been on the decline since 2001. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/64dc3d76-476c-456c-8bb9-3808bbaf6d33/fayette.png Advocacy Finally, Institute 193 receives its funding from a combination of sources including the KAC, LEXARTS, LFUCG, and more. Institute 193, in turn, allocates funds to individual artists and arts organizations throughout Lexington and Fayette County. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/8233ed03-e0e0-4463-a414-3ee77d16fb22/fayette.png Advocacy Local Institute 193 along with The Living Arts & Science Center, The Lexington Philharmonic, Lexington Children’s Theatre, and Bluegrass Youth Ballet have come together as a united coalition to advocate for the continued and increased support of the arts at the local and state level. Institute 193, as well as every one of these organizations, receive general operating support funds from the Kentucky Arts Council. These funds are vital and literally keep the lights on. https://www.institute193.org/publications-eat-your-carrot-cake daily 0.75 2026-03-30 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/165c22e3-fbfb-4c3f-a33b-04c0fc55ee20/Untitled-1.png Publications: Eat Your Carrot Cake - Life, Art, Community, and Cookery Marina Ubaldi Ritter and Lucinda Zoe with Michael Kelsay & The Carrot Cake Collective Available May 2026 https://www.institute193.org/oraiencatledgeshop daily 0.75 2025-09-26 https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1662673049122-8XH1QTZ7IC9LU0KH3XYU/%23%238a.jpg New Page https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1648308388367-U2GVS7PNRSCSDGFKL0ZL/%2326.jpg New Page https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265435658-9716MMXA6303KD9BGYX2/%2343.jpg New Page https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265433004-N7IEQPIG61D3XL7R3V7H/%23%2340A.jpg New Page https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265433126-D8BXRR96VALL40BEH20X/%23.jpg New Page https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265436196-OZT65X2VSU1X6PDN9ILF/%2344A.jpg New Page - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/df7387df-c0d4-4505-9af6-3291818a7b9a/%2339A.jpg New Page https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265435174-5NPH7XFO0A7XIWLYQ4U6/%2314.jpg New Page https://images.squarespace-cdn.com/content/v1/5c3cc8a11aef1d1735f564f7/1663265434590-59VK4H3H4FVDV6LBOTE0/%2312A.jpg New Page - Make it stand out Whatever it is, the way you tell your story online can make all the difference.