Installation View, 2013
Installation View, 2013
NIcole Awai, Vista 1 – Curling, 2013, Graphite, acrylic paint, paper, nail polish, resin, filter charcoal, paper/synthetic paper, 22 x 20 in.
Nicole Awai, Vista 2 – Where is Joe?, 2013, Graphite, acrylic paint, paper, nail polish, resin, filter charcoal on synthetic paper, 19 x 21 in.
Suntek Chung, For What will They be for?, 2013, Bronze, 7 ½ x 6 x 9 ½ in., Edition of 3
Mark Thomas Gibson, The Death of Benjamin Franklin, 2013, Acrylic and glitter/canvas, 80 x 60 in.
Alejandro Guzman, The Fatalist, 2013, Wood, screws, chicken wire, casters, plastic, silicone, foam,plaster, coroplast, mirrors, glitter, crystals, aluminum, copper, brass, bamboo, nKisi head figure, Nok beads, polish beads, clothes, fabric trim, oil paint, ink on paper, rabbit fur, elephant tusk, bull horns, 42 x 24 x 90 in.
Rico Gatson, Watts Painting #4, 2011, Paint and glitter on wood panel, 48 x 48 in.
Nathaniel Mary Quinn, Wretched, 2013, Black charcoal, gouache, oil pastel/Lenox paper, 50 x 38 in.
Nathaniel Mary Quinn, Irene, 2013, Black charcoal, gouache/Lenox paper, 50 x 38 in.
Maren Hassinger, Pink Sky, 2013, Pink plastic, shopping bags inflated with human breath and a love note inside, Dimensions Variable
Ariel Jackson, Here’s hoping AKA The Blues (Episode 1), 2013, Stop-motion animation and greenscreen
Ariel Jackson, Vanity Pillow, 2013, Recycled fabric, stuffing, plywood and bedding, 43 x 60 x 56 in.
Matthew Day Jackson, Domestic Drawing (LIFE, November 7, 1960), 2013, Life Magazine cover needlepointed by artist’s mother Karen Jackson, 13 ½ x 10 ½ x ¼ in.
Matthew Day Jackson, Domestic Drawing (LIFE, April 11, 1969), 2013, Life Magazine cover needlepointed by artist’s mother Karen Jackson, 13 ½ x 10 ½ x ¼ in.
Matthew Day Jackson, Domestic Drawing (LIFE, May 1, 1964), 2013, Life Magazine cover needlepointed by artist’s mother Karen Jackson, 13 ½ x 10 ½ x ¼ in.
Dawit L. Petros, Single Cube Formation, No. 2, Santa Barbara, CA, 2011, Archive digital print, 30 x 36 in., Edition 2 of 5
Dawit L. Petros, Single Cube Formation, No. 4, Nazareth, Ethiopia, 2011, Archive digital print, 30 x 36 in., Edition 2 of 5
Dawit L. Petros, Single Cube Formation, No. 3, Marfa, TX, 2011, Archive digital print, 30 x 36 in., Edition 2 of 5
Michael Vahrenwald, Untitled, 2013, Archival inkjet print, 40 x 50 in., Edition 2 of 5
Michael Vahrenwald, Untitled, 2013, Archival inkjet print, 24 x 30 in., Edition 2 of 5
Naomi Reis, Borrowed Landscape II (Tropics of Africa, Asia and the Amazon via Brooklyn), 2013, Digital print on vinyl, mixed media collage on paper in frame, Dimensions Variable
William Villalongo, Bathing Nymph, 2009, Acrylic paint, paper and velvet flocking on wood panel, 47 1/2 x 30 x 3/4 in
Press ReleaseDownload as PDF
- Nicole Awai
- SunTek Chung
- Rico Gatson
- Mark Thomas Gibson
- Alejandro Guzman
- Maren Hassinger
- Ariel Jackson
- Matthew Day Jackson
- Dawit L. Petros
- Nathaniel Mary Quinn
- Naomi Reis
- Michael Vahrenwald
Susan Inglett Gallery presents “American Beauty” a curatorial project by gallery artist William Villalongo from 12 December 2013 to 1 February 2014. Here Villalongo brings together works by 12 contemporary artists: Nicole Awai, SunTek Chung, Rico Gatson, Mark Thomas Gibson, Alejandro Guzman, Maren Hassinger, Ariel Jackson, Matthew Day Jackson, Dawit L. Petros, Nathaniel Mary Quinn, Naomi Reis and Michael Vahrenwald. A reception for the artists will be held Thursday evening, 12 December from 6 to 8 PM.
Challenging the notion that socially or politically charged content cannot coexist with Beauty and Form, these twelve artists skillfully employ imagination, observation and humor to produce works that engage the viewer with thought and feeling. Informed by a particularly American experience and diverse cultural backgrounds, the artists (conceptually) tow a line between their local environments and a global existence. Lines between form and content do not exist or are blurred purposefully to insist on an art that both interrogates and gives pleasure.
Though message and medium varies, these artists make clear that beauty does not have to exist in a vacuum, nor in the eye of the beholder, that a work of art can be conscious of the larger world. Villalongo puts to rest hackneyed strictures that “good” art communicates as a self-contained dialogue of “formal” qualities and the idea that the purest expression of art lies inside some mysterious universal ideal. “American Beauty” makes clear that truth and beauty are indeed the natural order.
The exhibition will be on view at the gallery located at 522 West 24 Street Tuesday to Saturday 10 AM to 6 PM. The gallery will be closed 22 December 2013 through 6 January 2014. For additional information please contact Susan Inglett Gallery at 212/647- 9111, fax 212/647-9333 or firstname.lastname@example.org