Portfolios Group 3

For a limited time, Zeitgeist is releasing specially curated portfolios by individual Zeitgeist artists in limited quantities. If you see one you'd like to hold or order please e-mail lain@zeitgeist-art.com or call 615-256-4805 or come in. Here is a sample of the work available:

See groups one, two, and four as well.

Brady Haston

Aug. 21, 2009/Apr. 2007, mixed media on paper, 9 x 12”    $1,600. ensemble                               

Karen Seapker

Untitled, 2014, mixed media on paper, 3 @ 9"x12", 1 @ 11"x15"     $850. ensemble

Lain York

One and the other

Watercolor, graphite, gouache on paper, 9” x 12”             $600. ensemble

 

Portfolios Group 2

For a limited time, Zeitgeist is releasing specially curated portfolios by individual Zeitgeist artists in limited quantities. If you see one you'd like to hold or order please e-mail lain@zeitgeist-art.com or call 615-256-4805 or come in. Here is a sample of the work available:

See groups one, three , and four as well.

Nancy Rhoda

black and white photography, 10" x 15 1/4", edition of 35        $1,650. ensemble

 

Megan Lightell

Oil on paper, 7" x 7" and 7" x 13.5"              $2,200. ensemble

Manuel Zeitlin

lithograph on Rives BFK Arches Printing paper, artist proofs; 19” x 15”     $1,950. ensemble

 

Portfolios Group 1

For a limited time, Zeitgeist is releasing specially curated portfolios by individual Zeitgeist artists in limited quantities. If you see one you'd like to hold or order please e-mail lain@zeitgeist-art.com or call 615-256-4805 or come in. Here is a sample of the work available:

See groups two, three , and four as well.

Patirck Deguira

Acrylic & silkscreen on Rives paper, 14 ¾” x 20”                  $3,000. ensemble

 

 

Paul Collins

Ink and watercolor on paper, 18" x 24"               $1,500. ensemble

 

 

Wayne White

Mixed media on paper, 7" x 11.5"                    $900. ensemble

 

Todd McDaniel on ramble, repeat

mcdanileinstall1114c.jpg

The motivation for my most recent work comes from an overall interest in landscape, and more specifically, surrounding that landscape with a fragmentary, “dumb” structural element.  Architect Paul Rudolph once wrote:  “We build isolated buildings with no regard to the space between them, monotonous and endless streets, too many gold fish bowls and too few caves.  We tend to build merely diagrams of buildings.”  Living in New York again, these words hold great meaning to me.  I am constantly searching for those “caves,” both outside and within myself. Most of my current work utilizes drawing, something I all but abandoned for years. My interest in it now is confined to an almost mechanical process, eliminating gesture for the most part.  I feel the linear element, handled in an almost naïve way, strengthens the fragmentary, allusive, and ephemeral cloud that seems to hang over the work.  And because I quickly become tired of the image at hand, my work has always been small in scale.

My paintings / drawings reference nothing other than a search to locate visual facts which I feel are buried somewhere within all of us.  My devotion to the memory of early visual stimulation in my life is increasing as I get older – I find myself using the same compositional map that I unwittingly used in drawings I made when I was a kid.  I could mention architecture (primarily ancient and antique), older films (especially “B” types and serials), and surviving examples of Roman decorative wall painting as influences, but because I don’t bring these things to the act of making the image, I don’t feel it would be entirely truthful to do so.  I employ a non-conceptual approach to the process, and I deny content as much as I possibly can.  It’s merely point/line to color to point/line…and on and on.   These small pieces (fragments) are slowly coming together to form a much-larger thing.  What that is, I cannot say.  Maybe the viewer can complete the picture. 

work on view at Zeitgeist through December 21

Best of Nashville 2014

New Work by Christopher Roberson

"My practice, while rooted in sculpture, finds its genesis in line, or more specifically, the disruption of line. I am interested in line that has been warped, distorted, liquefied, rotated, and abruptly ended. The source drawings for my sculptures are often produced digitally, which makes it possible to see an origin line manipulated in real time. This vulnerability that is applied to the drawings often produces unanticipated results and allows the injection of chance into a process that can be very methodical. Working in a vector environment also gives me the freedom to play with an economy of imagery that can be repeated and scaled infinitely.

In Full Sight/ I Think I’m Gonna Be Sick

The work shown in Cannonball Run 3 at Zeitgeist finds me picking up the scraps of these source drawings and allowing them to stand alone. Mining a lexicon of cartoons, sports, and the suburban landscape, the resulting structures, while abstract in nature, can become familiar and elemental. I feel that this recognition magnifies the irregularities and modifications of material. The subtle contrast between textures like black adhesive vinyl and black vinyl fabric, reinforce these ideas. My intention is to call up associations with youth and exterior/interior domains- aiming to in some way preserve the juvenescent spirit, while acknowledging its fading vitality. 

The series of prints called Wallop developed through a push-and-pull of creating space and then immediately jumbling the imagery. This process was repeated until I felt that the pieces snapped into place and a tense harmony existed between the gestures. Built upon a Peanuts comic, the individual elements were both reduced and camouflaged by the added imagery until the source nearly vanished. By isolating the compositions on a field of black, my hope was to create a sort of gravity and isolation in the drawings. There is a ubiquitous loneliness that I wish to acknowledge in my work."

Wallop Series

Sonnenzimmer on Round w Flat w Sound

"Round w Flat w Sound" is a kinetic sculpture that explores the discrepancies of digital representation and reality. By mirroring a static digital image with its in-the-round counterpart, we aim to subtly make aware the differences and similarities of these two very real matrices. On screen, the image never changes, but the digital interface begs for movement and audience interaction. Try to interact or wait for a change and you will be disappointed. The physical installation, on the other hand, is full of movement—the beach ball slowly deflates and the record spins and repeats, due to its imbeded sculptural qualities. The floating record player, precariously balanced, transmits sound to adjacent quilt through an FM signal and a hidden radio. In doing so, the installation engages curiosity in a similar fashion to the digital image, as sources are obscured and abstracted. “Round w Flat w Sound” is a quilt. “Round w Flat w Sound” is a house track. “Round w Flat w Sound” features a one of a kind sculptural record. “Round w Flat w Sound” deflates. “Round w Flat w Sound” is static.

“Round w Flat w Sound” is documented with a limited edition publication called “Round w Flat w Sound Collated”. The publication features a screen-printed poster that incorporates elements of the installation and its creation as well as a flexi record of the original song heard in the work.

On Lauren Ruth's Installation in Cannonball Run III

Lauren Ruth, 2014, Long Run

"I grew up in Silicon Valley in a culture that required one to perform and conform within a strict culture of perfection and success. My work aims to poke holes and relieve some of the pressure to acheive by creating a space where the strange and the illogical can coexist. I derive my aesthetic from the sanitized material culture of institutions, gyms, and gathering spaces, and the work lampoons the macho cultures bred within these bodily associations that speak to repressed fantasies and how we sublimate our desires. Harkening back to a high school gymnasium with hanging banners, gym mats, vague motivational signage, the work references an adolescent anxiety brought on by a fiercely competitive culture that weeds out the winners from the losers.

Lauren Ruth, 2011, Invisible Link

We live in a world that never lets us off the hook and often become blind to the absurdity of our own lives. Humor and weirdness are a way of coping with the mythology of perfection that requires us to take life so seriously. Reveling in awkwardness and performing vulnerability, my work embraces failure and offers itself as a space for connection and social interaction."

Lauren Ruth, 2014, The Charger and Sanitation Seating

On artist Karen Barbour

Installation of Karen Barbour paintings in Cannonball Run III at Zeitgeist, 2014

Installation of Karen Barbour paintings in Cannonball Run III at Zeitgeist, 2014

 

 

 

 

 

 

 

 

"I paint figuratively and abstractly, sometimes combining the two - I work in gouache and acrylic and also oil on wood and canvas.

These are psychological interpretations of our perceptions of our bodies, possessions and place in the world.

Woman with No Private Parts, 2014, Karen Barbour

Fragmented figures feeling judged. Avoiding by dreaming about others - forms that humans struggle to maintain - whether their bodies or their gardens or their hair.

Society always evaluating people by their body shapes - the clothing that shapes us - and protects us and presents an identity - same with our cars and houses etc.

Undergarments that transform the human body - push up bras, falsies, darts, corsets, spanks.

Transforming the body with electrolysis, liposuction, implants, chin implants.

Conversations overheard and then illustrated. Mental illness, gossip, imaginings, trying to be perfect, anxiety, boredom, doubts, and everlasting dissatisfaction. Part imagination, part memory, part drawn from life."

Works featured in Cannonball Run III:

Karen Barbour lives in California. She got her MFA in film from the San Francisco Art Institute and has shown all over the world including at Jack Hanley in New York and The Shiseido Gallery in Tokyo. Her illustrations have appeared in the New York Times. 

Karen Barbour, 2014 from New York Times article "Cousins, Across the Color Line"

Karen Barbour, 2014 from New York Times article "Cousins, Across the Color Line"

Karen Barbour, 2013, from New York Times article "The Misnomer of 'Motherless' Parenting"

Karen Barbour, 2013, from New York Times article "The Misnomer of 'Motherless' Parenting"

Hans Schmitt-Matzen on his works in Cannonball Run III

John's Shark

John is my three-year-old son and he is an artist. He prefers to work in his Lightning McQueen underpants executing simple pen and ink gestures on paper. He is self-taught and rather prolific.

One afternoon while visiting my son's studio table, I found myself reflecting on questions I have found perplexing for over a decade. How do artistic gestures arrive at their meanings? What roles do training and experience play in engendering meaning in a mark? How do such simple forms appear to be complete ideas? Is there a language of marks that is innate for us?

John's Tyrannosaurus Rex

I thought about how easy it can be for adults to dismiss children's early abstract artworks. In the past I have been guilty of not giving the work of young artists as much time and attention as they may deserve. I wanted to translate some of John's best drawings into a grander medium that made his forms more difficult to neglect. Neon signs are a medium designed for making bold announcements in the public sphere, and they are nearly impossible to ignore. I have always loved the way neon tubes appear to harness light, I view neon works as non-objects that instead reveal themselves as a delicate and ephemeral ether. These connotations made the neon medium a poetic choice for me.

 

Article on hyperallergic.com about Kevin Cooley and Phillip Andrew Lewis

in

Big Bang Vinyl

Kevin Cooley and Phillip Andrew Lewis, “Plane of Impact” (Performance Still) (2014), HD Video, 14:00 Minutes, Edition of 3 (1 AP)

Kevin Cooley and Phillip Andrew Lewis, “Plane of Impact” (Performance Still) (2014), HD Video, 14:00 Minutes, Edition of 3 (1 AP)

Using the breaking and reformation of a thousand vinyl records, artists Kevin Cooley and Phillip Andrew Lewis interpret the creation of the cosmos. The relics of this process and its final cacophonous product are on view at Pierogi gallery in Williamsburg.

Taking a line from Arthur C. Clarke’s 1968 sci-fi novel 2001: A Space Odyssey, My God, It’s Full of Stars started at Nashville’s United Record Pressing. There 500 grooveless black records, and 500 grooveless white records, were made, only to be shattered by volunteers against a grey wall (a perhaps heavy-handed suggestion of black and white color mixing). A video of the destruction projects against one wall in Pierogi, in which bits of dark and light vinyl pile up against the shattering noise. This sound was recorded on one side of new records pressed from the shards, with the other side imprinted with the sounds of the records’ creation.

Cosmic references aside, the project is definitely a successor to “Box with the Sound of Its Own Making” by Robert Morris from 1961 — a wooden cube which played a recording of its construction. That along with the 2001 reference and the vinyl record itself make the whole project a bit of an art and pop culture throwback. One of the Harmony of the Spheres records made from the melting of black and white vinyl bits spins silently in the gallery, the uncut edges from the pressing process left in a gnarled ring of encircling plastic. While the LP’s birth, death, and rebirth is on center stage — with limited edition box sets available — the experiments with the vinyl byproducts can be just as interesting. In “OMG, It’s Full of Stars,” raw PVC beads act as the darkness of the universe over a flat screen while suggestions of galaxies and stars beautifully emerge from the cracks; “Oddity” has a record reduced to a black blob meant to look like a meteorite. The two feel more immediately engaged in the vinyl record-cosmos crossover.

My God, It’s Full of Stars, which was exhibited in another edition earlier this year at Zeitgeist Gallery near United Record Pressing in Nashville, is the first New York solo show for the duo of Kevin Cooley and Phillip Andrew Lewis. Cooley has exhibited with Pierogi before, with last year’s Skyward film installation on the ceiling of the Boiler. Together they’ve also collaborated on the video and installation “Through the Skies for You” (2013), a tribute to the missing ship of 17th century explorer Robert de La Salle, lost somewhere in Lake Michigan. Both artists have an intense interest in process and the materials, and while you might not think of the Big Bang or black holes or the formation of universes when you accidentally drop a vinyl record, there can be these grand echoes even in the simplest of destructions.

Kevin Cooley and Phillip Andrew Lewis: My God, It’s Full of Stars continues at Pierogi (177 North 9th Street, Williamsburg, Brooklyn) through July 27.

Vesna Pavlovic/ The Phillips Collection/ opening 5/22/14

THE PHILLIPS COLLECTION UNVEILS  

NEW WORK BY VESNA PAVLOVIĆ

Washington, DC

1600 21st Street, NW (at Q Street)

Thursday, May 22nd

(through September 28, 2014) 

Vesna Pavlovic will give an artist's perspective on her installation at the Phillips on May 22 at 6:30 p.m.

Using documentary materials sourced fromThe Phillips Collection's library and archives,Vesna Pavlovic examines the museum's history of exhibition and display in a new installation.

Beginning May 22. Illuminated Archiveshowcases a 20-foot translucent curtain printed with digitally manipulated images and two related c-prints that explore the idea of transparency, both photographic and historic. The installation is part of the Phillips's ongoing Intersections series, a projecthighlighting contemporary art and artists in conversation with the museum's permanent collection and archives.

Vesna Pavlovic holds an MFA degree in visual arts from Columbia University in New York. She has exhibited widely,  including solo shows at the Frist Center for the Visual Arts in Nashville, the Museum of History of Yugoslavia, the Salon of the Museum of Contemporary Art in Belgrade, and the Crocker Art Museum  in Sacramento. Her work is included in major private and public art collections, including The Phillips Collection and the Hirshhorn Museum and Sculpture Garden. She currently resides in Nashville, Tennessee, and teaches photography and digital media at Vanderbilt University.

ABOUT THE PHILLIPS COLLECTION

The Phillips Collection is one of the world's most distinguished collections of lmpressionist and Modem

American and European art. Stressing the continuity between art of the past and present, it offers astrikingly original and experimental approach to Modem art by combining works of different nationalities and periods in displays that change frequently. 

Indeterminacies performance at Zeitgeist 5/22/14- 7PM

Ingrid Laubrock (saxophones) and Tom Rainey (drums) are celebrating the release of their first duo recording titled "And Other Desert Towns" (Relative Pitch Records 1018) by touring the States. The duo's music draws on the several years and many projects they have shared since they began working together. Their experiences of playing original compositions, free improvisations and even standard songs inform this intimate setting of improvised duets. 

"Two musicians each with intimate understanding about their counterpart's abilities, tendencies, and artistic vision delve fearlessly into each other."  

Francis Bradley/Jazz Right Now

Ingrid Laubrock soprano,alto and tenor saxophone: 

Originally from Germany, Ingrid Laubrock lived in London/UK from 1989 - 2008 and is now residing in Brooklyn. She performed and recorded with: Anthony Braxton, Dave Douglas, Kenny Wheeler, Jason Moran,Tim Berne, Hamid Drake, Mark Helias, Michael Formanek, Mary Halvorson, Tyshawn Sorey, Evan Parker, Steve Beresford, John Edwards,Veryan Weston, Luc Ex,Django Bates,The Continuum Ensemble and others.
As part of the F-ire Collective, she won the BBC Jazz Award for Innovation in 2004,she was nominated for the BBC Jazz Award for 'Rising Star' in 2005, and the recipient of the 'Fellowship in Jazz Composition' by the Arts Foundation in 2006. She won the 2009 SWR German Radio Jazz Prize the and was one of the final nominees for the 2009 Westfalen Jazz Preis .

Ingrid is also a prolific composer who has written for her own groups as well as for classical orchestra. Her orchestral piece "Vogelfrei" was performed by the American Composers Orchestra and the Tricentric Orchestra in 2012.

Tom Rainey drums: 

Tom Rainey was born in Pasadena, California in 1957. Since moving to New York in 1979 he has performed and or recorded with the following artists: John Abercrombie, Mose Allison, Julian Arguelles, Ray Anderson, Tim Berne, Jane Ira Bloom, Anthony Braxton, Nels Cline, Ted Curson, Kris Davis, Mark Ducret, Mark Feldman, Michael Formanek, Drew Gress, Mark Helias, Fred Hersch, Andy Laster, Ingrid Laubrock, David Liebman, Joe Lovano, Tony Malaby, Albert Mangelsdorff, Carmen McRae, Mike Nock, Simon Nabatov, New and Used, Anita O'Day, Andrea Parkins, Herb Robertson, Angelica Sanchez, Louis Sclavis, Brad Shepik, Ken Werner, Denny Zeitlin.

Current activities include performing and recording music with the Tom Rainey Trio as well as his new quintet Obbligato. Tom also continues working with many of the aforementioned artists.

also on thursday:

An Out of the Lunch Box discussion at the Nashville Central Library (noon)

A master class in the library auditorium (1:30PM)

Indeterminacies moderated by Dr. Robert Fry (7:00PM)

May 3rd Arts & Music @ Wedgewood/Houston TONIGHT

Here's what's happening this month:
------------------------------------
David Lusk Gallery
516 Hagan Street
David Lusk Gallery Nashville introduces a series of new abstract paintings and organic sculpture from Nashville artist Kit Reuther. Her recent participation in art fairs, like Art Miami, has propelled her work onto the national art world stage
Learn more at: http://on.fb.me/1rzmqTL
------------------------------------
Fort Houston
500 Houston Street
"Ray Palumbo documents the waning industry of rural American tourism with Cave City, and Chelsea Wright, also a documentary photographer, examines the subculture of motocross in Weekend Warriors." Laura Huston, Nashville Scene
Extended throughout May!
Learn more at: http://bit.ly/1fnKbOF
------------------------------------
444 Pop Up Gallery
444 Humphreys St., Suite B (Outside)
KELLI SHAY HIX & JOSH GUMIELA
Learn more at: http://on.fb.me/QZ4DK4
------------------------------------
Ground Floor Gallery
427 Chestnut Street (inside Chestnut Square)..
Opening reception for Meet of the Matter, a solo exhibition by Jake Weigel, from 6-9pm at Ground Floor Gallery. Artist talk begins at 6:30.
Learn more at: http://on.fb.me/S6hE62
-----------------------------------
Harvest Hands
424 Humphrey Street
5:30-9:00pm
------------------------------------
Hunter+Gatherer 
503 Hagan St. 
Hunter+Gatherer will have their doors open. It is a lifestyle brand with a focus on handmade original and re-purposed utilitarian art and decor. 
Learn more at: http://www.huntergatherersociety.com/
------------------------------------
Infinity Cat Recordings
467 Humphreys St.
OUTSIDER / PRIMITIVE ART
Learn more at: www.infinitycat.com
------------------------------------
Julia Martin Gallery
444 Humphreys St., Suite A (Inside)
Ongoing at Julia Martin Gallery for the #AMWH May Art Walk is "HEAD CASE" an exhibition of figurative and functional ceramic work by David Kenton Kring
www.JuliaMartinGallery.com
----------------------------------
Merritt Mansion
441 Humphreys St
"Notes from the 422nd Annual Wraiths for Writing" Art Show 6-9pm
Amelia Garretson-Persans
Learn more at: http://on.fb.me/1rO4dBY
------------------------------------
Ovvio Arte
425 Chestnut Street
Learn more at: http://ovvioarte.com/
-----------------------------------
The Packing Plant
507 Hagan St
New pop up exhibit 6-9:
A collaboratively curated and executed installation by the Indiana University Sculpture BFA students and their professor, Mike Calway-Fagen. 
------------------------------------
Seed Space
1209 4th Ave South (Inside Track One)
"Run's House Remix" by Black & Jones 8-9:30pm
"Eventually the Pendulum Swings" by Lester Merriweather
Learn more at: http://seedspace.org/current-exhibitions.
------------------------------------
Track One
1209 4th Ave South
Learn more at: http://on.fb.me/1h8OOHw
------------------------------------
Zeitgeist Gallery
516 Hagan Street
Two new shows open at Zeitgeist Gallery on 5/3
Brady Haston - A Brief History of Nashville
http://zeitgeist-art.com/a-brief-history-of-nashville
Karen Seapker - Re: Surface
http://zeitgeist-art.com/re-surface