COOP Gallery is pleased to present Plant a Flag, an exhibition of works on paper by Brooklyn-based artist and community activist Peter Krashes. Krashes’ works address the power relationships between citizens, government, and corporations using his own advocacy as a springboard. For his show at COOP Krashes will exhibit gouache on paper works inspired by block parties, public meetings and rallies that he has helped organize. “As a result, the paintings are the last step in a process I have been engaged with from beginning to end.”
Simply put, Krashes plays a role in what he paints before he paints it, and it doesn’t stop there. From the very complicated situations he has placed himself in, the paintings attempt to distill and slow down these experiences with careful consideration. One by one, his brush strokes are laid out to carefully compose the image, resulting in paintings that exhibit an incredibly considerate and delicate touch. In opposition to the way we often see power relationships strongly mediated through mainstream outlets, Krashes’ paintings reveal an individual’s attempt to reflect upon a complex and compelling world outside of his studio.
Krashes’ work has been exhibited in museums and commercial galleries in the United States and abroad. He has had solo exhibitions at University Galleries, Illinois State University; Theodore: Art, Brooklyn; Derek Eller Gallery, New York; Jessica Murray Projects, Brooklyn; Momenta Art, Brooklyn; White Columns, New York; and Michael Klein Gallery, New York. He has been included in group exhibitions at Crane Arts, Philadelphia, He Xiangning Art Museum, Shenzhen, China, the Aldrich Contemporary Art Museum, Connecticut; Zolla/Lieberman, Chicago; and Galerie Chez Valentin, Paris. Among the grants he has received are a Joan Mitchell Foundation Painter and Sculptors Grant and a Marshall Scholarship for study at the University of Oxford. He has taught art in numerous places including Cooper Union for the Advancement of Science and Art, Skowhegan School of Painting and Sculpture, American University, Rutgers University, Illinois State University and the University of the Arts. The artist received his B.F.A. (M.A.) from the Ruskin School of Drawing and Fine Art at the University of Oxford. He received his B.A. from Middlebury College in Middlebury, Vermont.
NEW MEMBER SHOW #1:
Recent works by Alex Lockwood, Jonathan Rattner, and Karen Seapker
January 4 – 26, 2014
Space 75 Arcade, 244 5th Ave. N
Opening January 4th, 6 – 9pm
Gallery Hours: Friday and Saturday, 11 – 3
Alex Lockwood makes abstract sculpture from colorful material, often repurposed or recycled. He builds with one primary component which is repeated many times to create patterns and structures. Alex Lockwood is a self-taught artist from Seattle, WA. He has exhibited in various group shows across the US. Alex had his first solo show at Curtis Steiner Gallery in Seattle in 2013.
Jonathan Rattner is a lens-based artist who primarily produces experimental nonfiction film and videos. In his work he employs a mixture of documentary and lyrical filmic elements. By doing so, he strives to offer an alternative, open, and elastic aesthetic experience. Rattner has exhibited work in festivals and galleries in the United States, Europe, and South America. Rattner received MFA’s in Film Production and in Intermedia Art from the University of Iowa. Currently, he holds the position of Assistant Director/Assistant Professor of Film Studies and Assistant Professor of Art at Vanderbilt University in Nashville, Tennessee.
Karen Seapker’s recent paintings have focused on and questioned ideas of re-birth and renewal, both genuine and misguided. These paintings pay particular concentration on water, its cyclical and symbolic nature, and ideas surrounding baptisms and also drownings. Karen Seapker received her MFA in 2009 from Hunter College in New York, NY. She has exhibited her work in various group shows in various cities including New York, London, and Shanghai. She participated in the Pittsburgh Biennial at The Andy Warhol Museum. She currently has work up in a solo exhibition at Canal Projects in London.
Stephen Slappe (b. Charleston, WV) is an artist based in Portland, Oregon. Slappe’s work has exhibited and screened internationally in venues such as Centre Pompidou-Metz (France),Portland Institute for Contemporary Art’s TBA Festival, The Horse Hospital (London), The Sarai Media Lab (New Delhi), Consolidated Works (Seattle), Centre for Contemporary Art (Glasgow), and Artists’ Television Access (San Francisco). His projects have been funded by multiple grants from the Regional Arts and Culture Council of Portland and an Individual Artist Fellowship from the Oregon Arts Commission.
Slappe is an Associate Professor and Chair of Video & Sound at Pacific Northwest College of Art. He is an active curator and organizer of video and film exhibitions including New Mutants a Worksound Gallery (Portland) and Out of the Great Northwest at The Horse Hospital (London). Slappe is an amateur film archivist and has presented three programs of archival 16mm films entitled Rolling Deep: Skateboarding Films 1965-1980, Static Age: The Culture of Early Television, and Drugs, Disease, Disaster.
Images are supernatural. Spellbound is simultaneously fiction and documentary, placing elements recorded at different places at different times in a single space where they can blend and accumulate meaning. These impossible temporal cycles highlight the strangeness of everyday experience.
The video and sound elements in Spellbound were gathered over a two year period. During that time, I was shooting hundreds of hours of video with no real aim, using the camera and microphone to see and hear. Since then, I have been treating my own material as found footage, remixing it into modular units of video and sound loops. These units can be combined so that their elliptical edges join together in psychologically charged spatial configurations.
“Photographs of Piles and Skies”Ryan BoatrightNov. 2, 2013 – Nov. 30, 2013 – opening reception November 2, 6-9pmCOOP is excited to present “Photographs of Piles and Skies” by artist Ryan Boatright. In this body of work the artist is seeking out the relationship between false terrains and the atmosphere that exists above them. According to Boatright this series also “…fits into a larger broader body of work that loosely examines photography’s failed attempts to quantify the unquantifiable.” For this particular exhibition of “Piles and Skies” the artist is papering the gallery walls top to bottom in a succession of images that opens a dialogue between the real and the contrived as the photographic images are altered every few feet in a static, yet lively manner.
More about Ryan Boatright
Ryan Boatright (b.1982) is an American artist based in Paris. His work examines the role of photography in the mainstream and the medium’s ability to measure reality. The process of photography itself and the tools and techniques used to increase accuracy in photography are often at the heart of his investigations. The products of his work exist as traditional photographs, digital prints, videos, and unique art objects.
His pieces have been shown in various galleries and institutions including the Center for Fine Art Photography in Fort Collins, Axiom Center for New and Experimental Media in Boston, TPTP Space in Paris, Chelsea Art Museum in New York, and the American University Museum in Washington. His work was also featured in The Collectors Guide to New Art Photography Vol.2 in 2011.
Ryan’s art practice is informed by his time as a research scientist at the Image Permanence Institute in Rochester, NY, and his activity as a printmaker at Atelier Boba, which he co-founded in 2011.
Elisabeth Belliveau, still from “Go so we may see (lady of gold arms doom)”
“When you break and all inside is light”
October 5th, 2013 – October 30, 2013 – opening reception October 5th, 6-9pm
COOP is proud to present a show of recent works by Montreal-based artist Elisabeth Belliveau. Belliveau’s interdisciplinary practice “braids stories, history and everyday life, employing intuition, curiosity and material exploration.” In the past this exploration has donned all manner of media, from embroidery floss to abandoned objects, from clay-mation to puppetry. “XXX” continues in this vein of inquiry, but with an emphasis on that most basic artistic instinct: drawing.
In the stop motion animation, “Go so we may see (lady of gold arms doom),” Belliveau has extracted scenes from films that feature narratively significant walking cycles of women. Through stop-motion animation, moments of emotional, psychological or physical transformation in walking cycles are isolated. Each movement is hand-drawn with black plasticene on a lightbox.
The films quoted in Go so we may see (lady of gold arms doom) include Belle de Jour, Picnic at Hanging Rock, Bridget Jones Diary, Poltergeist and The Children’s Hour.
Go so we may see (lady of gold arms doom) is from a poem by Sappho as translated by Anne Carson in the book ‘If Not, Winter- Fragments of Sappho’. Carson’s translations are arranged with brackets to indicate the missing fragments of papyrus and to interpret the spacing and rhythm of Sappho’s words. Below is how this poem appears in Carson’s book.
Unit 2 (part 1)
September 7 – 30, 2013
Opening Reception During the Art District Gallery Crawl: Saturday, September 7, 6-9pm
Coop Gallery is pleased to present Unit 2 (part 1), an exhibition featuring collaborations between a group of local artists and 11 prisoners on Tennessee’s Death Row.
The works included in this show were all made during the summer of 2013, when members of the group of artists made weekly visits to Unit 2 of the Riverbend Maximum Security Institution in northwest Nashville to engage the prisoners in artistic collaborations and intensive discussions.
The show consists primarily of two types of works. It includes collaborative (or “add-on”)drawings that were handed back and forth over the course of the summer and modified with each exchange, and it also includes “surrogate projects” where the insiders asked the outsiders to do and experience things forbidden by their imprisonment. These works showcase an unlikely dialogue across the walls of prison, and they address the aspiration to transcend, albeit imaginatively, the dark realities of incarceration and death.
Members of the group will be on hand at all times during the gallery’s open hours (Fridays and Saturdays, 11-3) to answer questions about the project and about their visits to Death Row.
Unit 2 (part 1) will be the first in a series of exhibitions related to this collaboration.
The artists (along with one critic and art historian) who worked on the exhibition are as
Abu Ali Abdur’Rahman
Ann Catherine Carter
Kennath Artez Henderson
Weng Tze Yang
Nam June Psyche: The Archive
August 3 – 31, 2013
Opening Reception During the Art District Gallery Crawl: Saturday, August 3, 6-9pm
The Coop Gallery is pleased to present Nam June Psyche: The Archive by Florida-based artist Valerie George.
In 2010, George built a recording studio inside her 1983 Mercedes wagon, and during the subsequent year, she toured the country as Nam June Psyche, recording collaborations with other artists, soundmakers, noisemakers, landscapes, soundscapes, and the rain. With a nod to the spirit of Alan Lomax, and the forty-year history of D.I.Y. subcultures, this endeavor set out to document and archive artistic experimenters within the ever-changing American landscape. As she has described her project, “This work developed at the intersection between experimental music and a folk history. I’d like to think that with this project I was an archivist for those who are brave enough to operate outside of the parameters of popular music and culture.”
The Mercedes was wrecked in 2011, but the archive from these wanderings endures, and in recent years, she has exhibited albums, tape sets, videos, sculptures, drawings, and photographs that she created with the audio-visual material collected on her journeys. Exhibitions of the archive have appeared at venues such as the Norton Museum of Art in West Palm, Art Basel Miami, Cinders Gallery in Brooklyn, and Worksound Gallery in Portland, Oregon.
The show at Coop Gallery will include a selection of videos, photographs, albums, posters, and audio-visual works based on her excursions.
Valerie received her MFA from the University of California at Davis. She is currently the Head of Sculpture at the University of West Florida and the Arts Editor for Panhandler Magazine: A Journal of Literature and Art. She was previously a visiting lecturer of sculpture at Stanford University. For more information, see www.namjunepsyche.com and www.valeriegeorgeart.com.
An exhibition featuring the members of PUNCH collective in Seattle WA.
July 6 – 27, 2013
Opening Reception During the Art District Gallery Crawl: Saturday, June 6, 6-9pm
We live in an age of globalism where trends and ideas cross-pollinate indiscriminately, where physical boundaries have perhaps become irrelevant, and where the separation of time and space has all but imploded. Yet cultural and geographic differentiation lingers. We still hold to biases and stereotypes of a given land. This survey of works by PUNCH members considers the role physical geography plays in shaping a cultural and aesthetic identity. Northwest Territory embraces and celebrates all that embodies the identity of the Northwest: alpine lakes and mountainscapes, raindrops and coffee shops, evergreen forests of Douglas Fir, flannel shirts, fiddlehead ferns and folk-life festivals, latte lounges, gay marriage, the grunge-rock explosion, biking and camping culture, lumberjacks and locavores, Jimi Hendrix’s grave, metrobillies, NW mystics, NW gang life and NW wildlife, microbreweries and mycological societies, backyard bestiaries, marijuana dispensaries, whale-watching, skinny jeans, Space Needles, serial killers, salmon fishing and oyster shucking, the Washington State Ferry System, glaciers, volcanoes, avalanches, indie pop and whisper rock, Voodoo donuts, the specter of Dale Chihuly, sasquatch sightings, etc.
PUNCH was founded in March 2006 by a group of artists eager to participate in the dynamic cultural exchange resulting from the emergence of other artist-run galleries in Seattle. PUNCH seeks to exhibit work that is honest, thoughtful, vocal, fearless, and fresh. Applauding individual expression, the gallery’s primary mission is to provide support and encouragement for artists to create and exhibit their work in an atmosphere free from the constraints of commercialism. Committed to excellence on every level, PUNCH promotes the visual arts as a necessary, valid, and worthwhile contribution to Seattle’s cultural growth.
Justin Colt Beckman
Jessica Lynn Bonin
Justin Lee Martin
On the Other Hand
June 1st – June 29th, 2013 – opening reception June 1st 6-9pm
The Coop gallery is pleased to announce On The Other Hand, an exhibition of new works by New York based painter James Benjamin Franklin. Mr. Franklin has been working in a highly accomplished figurative style for the last decade. This new body of work previews an exciting departure as he presents works which are abstract compositions emphasizing the quality of a line and the surface of the painting. In these new paintings a meandering line seems to take on an animated figurative presence. These compositions adeptly use line, space and form to relay a sense of humor and attitude of embraced awkwardness and tell a story about their maker. On The Other Hand references both the dichotomy of Franklin’s diverging visual methods, the figurative and the abstract, as well as a literal note to how the works are made. While these works use technology in the beginning stages of the process, they are then meticulously drawn and redrawn, sanded to great lengths, and painted and repainted until a jewel like surface is achieved. A native Californian, Franklin uses the tones and colors of his origins to illuminate these simple and touchingly precise abstract paintings.
More about James Franklin
James Benjamin Franklin is a painter currently residing in New York. James received his BFA from the Art Center College of Design in Pasadena, California. He also attended Skowhegan School of Painting and Sculpture and the New York Studio School. He has shown his work internationally with solo exhibitions in New York, Los Angeles, Milwaukee, Sweden and Denmark. This is his first show in Nashville.
May 4 – 25, 2013
Reception: Saturday May 4th 6 – 9 pm
Through my work I investigate my day-to-day, immediate environments. I respond to the collective source, the seemingly mundane objects and forces that everyone may encounter on a daily basis, for example, parking lots, heat, pencils, cats, ventilation systems, and the sun, which are all consistently present in my life, and assumed to be generally predictable. These stimuli constitute much of the visual and otherwise sensory information we encounter on a daily basis.
I am concerned with how the majority of this information becomes regarded as mundane. It is often pushed to the background of our attentions, yet remains in a relationship of reciprocity with the imagination, positing conditions for our lives. In my work I explore how mundane objects and commonplace forces may impact the imagination through their consistent nature and accumulation. My goal is to regard my environments and my relationship to them as malleable.
In my current body of work I regard my surroundings as a set of infinite, potential data sets. I apply conventional organizational systems, such as chronologies, temperature, and the alphabet, to present unconventional taxonomies. The work takes the form of inconclusive charts, graphs, and modified representations of the familiar contents of my daily life. With no apparent conclusions, the “data sets” encourage the self-reflective consideration of preferences and values, often posing the question of “What is ideal?”.
Reception: Saturday, April 6th 6-9 pm
Police LIght, Beijing
COOP is excited to present an installation by Boston-based artist Ben Sloat. The installation will consist of projected images taken while Ben was on a fellowship to Beijing. The images redefine the city by the colorful presence of police lights. At once expressing authority and constructing social behaviors, here the lights also create visual layers and distortions, all which refer to the complexity of contemporary Beijing. These projections hover in front of a wallpaper backdrop, reflecting the imagery presented to illustrate a traditional appearance of Chinese culture.
About Ben Sloat
Ben Sloat teaches in the MFA in Visual Art and MFA in Photography programs at the Art Institute of Boston at Lesley University. Lectures include those at RISD, SCAD, UMass Boston, UC Berkeley, UC Santa Cruz, Sun Yat Sen University, National Taipei University for the Arts, and the Society for Photographic Education National Conference. Recent exhibitions include solo shows at NLH Space in Copenhagen, Galerie Laroche/Joncas in Montreal, Steven Zevitas Gallery in Boston, MMX in Berlin, 126 Gallery in Galway, Ireland, and ACC Gallery in Taipei, Taiwan, as well as group shows at the Peabody Essex Museum, Museum of Fine Arts, Boston, and Queens Museum. He has written essays for Aperture Magazine and Exposure Magazine, and was a 2009 Faculty Fulbright Scholar to Taiwan.
Reception: March 2, 6 – 9pm
While Away is a gestural and kinetic installation highlighting both the charms and risks of domesticity with vignettes that are inviting, safe and content in the moment as well as stuck in place, lazy and bored. Often worn and mostly ubiquitous objects employ their physical qualities to hold their position. These qualities (weight, warmth, dullness, softness) as well as the metaphorical characteristics (mysterious mist or illuminating light) become subject matter for the work. In a Fischli and Weiss vein of exploring “the way things go” and the way things are, familiar objects pin themselves in place or balance precariously either embodying (if kinetic) or alluding to (stationary pieces) a cause and effect. The objects become caricatures reaching and referring beyond themselves; familiar, but more vivid than before. Sometimes poignant and halting, often uncanny and slightly humorous and occasionally requiring some logical deduction, the objects left behind celebrate the resilient residual while gesturing toward the ongoing nature of life.
Lisa Walcott is an installation and new media artist based in Michigan. She completed her MFA in Sculpture from the Cranbrook Academy of Art in 2010. Various works from this exhibition were completed during her 2013 residency at threewalls in Chicago.
Photos from the Installation:
Coop Gallery is pleased to present a solo exhibition of paintings by Jane Fox Hipple. Her paintings are at once steeped in the traditions of painting, while undermining notions of perfection and finish.Hipple Writes:
I am democratic in my incorporation of materials as a way of equalizing all things, in order to discover what / if any transformative potential can be found. This work is a visual display of my argument about whether to find meaning in the hard space of the physical and psychological time, or in an internal realm that is less comfortable to navigate and difficult for me to address verbally. The pressure on the physical boundaries of the rectangle acknowledges a beyond, yet the fact that each work more or less adheres to the rectilinear suggests a comfort in confinement.
Jane Fox Hipple was born in 1981 in Springfield, PA. She received her BFA at Washington University in Saint Louis and her MFA from Tulane. She attended the Skowhegan School of Painting and Sculpture in 2009. Hipple has exhibited at Soho20 Gallery, New York, NY; samsøn, Boston, MA; Des Lee Gallery, St. Louis; Daily Operation, Brooklyn, NY; DODGEgallery, New York, NY; and the Mills Gallery, Boston Center for the Arts, Boston, MA. Hipplewas the 2010 recipient of the Somerville Arts Council Fellowship. In 2011 she was an artist in residence at the Ragdale Foundation in Lake Forrest, IL. She is based in Alabama.
Her work is shown at Coop courtesy of Dodge Gallery, New York.
Q & A with Jodi Hays, COOP member
COOP-What is your research process like for working?
Many of the materials incorporated are the stuff of my everyday life; q-tips, bed sheets, paper towels, nails. This mining of materials is an external parallel to how my thinking and decision making extend from the experience of living. It is in this way- and for this reason-that the work speaks of femininity and imperfection. This is not to say that the work is exclusively my narrative or diaristic, for me its more about connecting with a larger picture of what is it to live from the human perspective with the emotions, thought processes and spiritual conditions that define us–with the recognition that any definition is not fixed. My hope is that the works visually announce themselves, the works surrounding them and to the wall and encompassing space. I’m interested in stripping away the influences of culture, personal history and art history as much as is possible, knowing of course that I can never escape them. In other works “research” would be antithetical to my position because its a very introspective/internal affair.
COOP-Your titles are interesting, what role does writing play, if at all, in your process?
I do not write on a regular or significant basis but I read as often as I can. The titles suggest my interest in literature and narration. What I take from literature is the idea of a beginning point, a storyline, a conclusion, character tropes and how the pieces, individually considered and developed, come together to create something. When making smaller works I think of how they might act like different literary devices when in relation to each other. Recently I’ve started larger works that act more like a complete sentence, but part of the same broad contemplation. By referencing literary principles when labeling works I offer a varied psychological position from one to the next. Even without knowledge of the titles some works are more cheerful, serious, silly, dowdy, etc., depending on their individual formal qualities. This focus on the literary may have something to do with having relocated to a place where I don’t have the opportunity to see a lot of art in the flesh. Reading and listening to audiobooks has become a way for me to enjoy another artist’s work. I don’t listen to music. I know, its weird.
COOP-What role does resolve or resolution play with your paintings?
I’m not focused on creating “a masterpiece” or putting everything into one work, although I find that idea incredibly romantic. (I would love to see Jay DeFeo’s “The Rose” which is currently on display at SFMoma, to travel to the Whitney Museum.) When I was younger I worked on one painting at a time, since 2009 I’ve kept many things going at once, with much relief. In any case I try to let the paint and materials dictate a lot of my decision making and because I’m okay with works having a certain amount of variation from one to the next I accept when things go off in an unexpected direction. The decision to leave something untouched is just as significant as adding or doing more.
COOP-Do you make “side” projects, not painting?
I have a garden. Much like with my studio practice the success of a garden is predicated on elements beyond my control. Its up to me to be present and steer what I can, but then accept when things don’t pan out. Gardening brings me a lot of joy and is my favorite thing about living in the South.
COOP-What keeps you making work?
The resistance, struggle, acceptance and introspection about who and what I am is what makes doing anything interesting. Connecting with others is what makes doing those things meaningful.
COOP-How do you discipline your time?
In the past when I tried to be disciplined about how much time I spent in the studio I became uptight and unhappy about my studio life. I’m not a disciplined person, but I make up for it in motivation.
and and and
January 5 – 31, 2013. opening reception January 5 6-9pm
COOP is pleased to present “and and and”, an exhibition of video works by Nashville-based filmmaker Jonathan Rattner, January 5-31, 2013. This exhibition will feature a collection of recent works in experimental video. These works are linked by their segmented structures and indeterminate endings.
In contrast to prevailing ideals of our digital age such as multitasking, speed, and efficiency, I explore the possibilities of slowness to provoke reflection and reevaluation of the places, stories, memories, and objects we use to generate meaning as individuals and as a society.
I seek to offer an alternative, open, and elastic aesthetic experience that challenges socially and culturally established perceptions of the world and reimagines our physical and temporal landscape. My material consists of fragmentary images of everyday moments, which I reassemble into new configurations in an effort to draw attention to the forgotten, the ignored, the banal, and the unseen.
Rattner holds MFA’s in Film and Video Production and in Intermedia Art from the University of Iowa and a BFA in Film and Television from Tisch School for the Arts, NYU. For four years he was the creative director of Iowa City Senior Center Television, a television station for and by older adults. He is currently an active member of the lens based collective Wildland Urban Interface and holds the position of Assistant Director/Assistant Professor of Film Studies and Assistant Professor of Art at Vanderbilt University.
He has previously exhibited work at the Brooklyn Museum of Art, the University of Iowa Museum of Art, the World Social Forum in Brazil, the Society for Cinema and Media Studies, the Live Herring Festival in Finland, Emergeandsee Media Art Festival in Germany, as well other colleges, festivals, and galleries in the United Kingdom, Germany, Croatia, Slovenia, and Russia.
Here and Back
December 1st – December 24th, 2012 – opening reception December 1st 6-9pm
A sewing needle pierces through threads, creating holes and separating material. This activity straddles the line between construction and deconstruction. The pulling apart and separation of threads is necessary in the creation of new forms.
I pay attention to material change and random events in my day-to-day life. Something as commonplace as a pot of water boiling over on the stove can bring back memories of leaving a specific brand of Southern girlhood behind me and, as I grew into an adult, inhabiting what felt like a foreign body in an unfamiliar environment.
Jung A Woo
For the month of November, COOP will be presenting an installation by the artist Jung A Woo titled Green Revolution. Green Revolution addresses our use of resources and the veneer we put over our environment to reflect that which we consider ideal. The installation will incorporate video, plastic bottles, and organic matter. Jung A explains the project as:
“I try to study and think about pollution and all of the consequences that come from it. I try to make art about this topic and talk to people about it. But I polluted in pursuit of making this art piece! Artists often comment through their work on social problems in which they are complicit. As an artist, I am constantly using resources and materials, some of which are toxic or carcinogenic. At times I don’t even know what the value or function of my work is or if it is worth the effort and materials that I commit to it. The act of daily living in this country and most of world creates vast quantities of waste and often harmful byproducts. It is our way of life. We don’t know how to do things differently. It is a way of life that we depend on for our wellbeing but simultaneously it causes us harm that we do not even fully comprehend. This is the dilemma of our time. This is the “Green Revolution.”
Green Revolution will open on November 3rd and run through the 24th. An opening reception will take place November 3rd from 6-9pm.
October 6th – 27th, 2012 – opening reception October 6th, 6-9pm
This October COOP will be presenting Doubleness, by Detroit artist, Lauren Rice Rice uses collage, painting and sculptural installation to explore gaps in history, missing information and systems in flux.
Rice’s use of materials is expansive. Rice writes “In both my collage and sculptural work, connections are explored between presumably unrelated imagery. Cut magazine images, photocopies and digital prints of jewelry, flowers, vases and landscapes collide with found images of skulls, superhighways, reptiles as well as blobs of paper pulp, cut canvas, spray paint and sawdust in an effort to question my own contradictory impulses, desires. I want to explore, critique and question our unique contemporary economic, ecological, political and social climate.”
Tarp Lake: Debris of Desire
Marin Abell & Heidi Bender
September 1 – 29, 2012 - opening reception September 1, 6-9pm.
Marin Abell & Heidi Bender will be bringing their latest project, Tarp Lake: Debris of Desire, to COOP Gallery during the month September. The exhibition examines the interplay of human desire, the natural landscape, and singular communities. Through the use of video, photographs, a book of histories, and installation the artists will use the exhibition to extend ideas put forward in their ongoing monumental installation, Tarp Lake.
Tarp Lake is a nomadic, artificial lake landscape created from billowing, blue, and donated cast-off tarps. The lake was originally conceived as a complete sensory experience for viewers who were invited to wade into the lakebed and sit under the roaring, rolling waves. Labels and a book compiling the histories of the tarps enabled visitors to traverse the lake and pinpoint the former lives of each tarp, as used by their previous owners. In its iteration at COOP, Abell & Bender will be presenting footage, photos, their book, and original maps documenting the installation at a site in Huntsville, Alabama. An original installation by the duo will premier at COOP playing on the layered histories of the tarps in connection with spent desires and produced topographies.
“The lake creates an ironic space- these discarded tarps, consolidated into a lake designed to protect the audience, are symbolic of any lake’s ephemeral feature. We receive tarps that were used by people to shield or maintain things. When the tarps are cast-off, the objects they had safeguarded are exposed to the weather, grime, and abrasion of time. In a sense, the objects begin their journey to a modern day ruin, a place where nature resets itself over humanity’s concrete detritus. These cast-off tarps become synonymous with the point at which we begin to let things decay, when our desire is spent and we stop maintaining a small portion of the built landscape.”
About Abell & Bender:
Marin Abell and Heidi Bender are a team of artists dedicated to fostering public imagination in playful and introspective ways. The duo met as graduate students in Sculpture and Expanded Practice at The Ohio University, where they began working collaboratively. Each of these artists also exhibits their work individually.
Marin Abell is a transdisciplinary artist and educator. His creative practices often take the form of sculptural events that explore individual and cultural identities. He has participated in numerous residencies, and has exhibited extensively in the US, including the Virginia Museum of Contemporary Art, and was recently awarded Smack Mellon’s ‘Hot Pick’ 2011-2012. He is currently a Visiting Assistant Professor in the University of Alabama Huntsville’s School of Art & Art History’s Sculpture Department.
Heidi Bender’s artwork encompasses installations and performances exploring the contingent relationships within globalized spaces. Recent solo exhibitions include Culture of Construct at ROY G BIV gallery in Columbus, OH, and Motherlands at The Pittsburgh Center for the Arts in Pittsburgh, PA. Bender teaches Studio Art & Art Appreciation at the Ohio University Chillicothe.
This August COOP will be presenting Space Spells, by Richmond, Virginia based artist, Nikki Painter. Painter’s work combines a visual vocabulary of symbols, images, patterns, marks, colors, and constructions that assign meaning based upon her own associations with them.
Interested in psychological connections, these groups of signifiers attempt to interact along a timeline—a push and pull, or movement toward or against one another, while identifying a sense of place.
Painter writes, “Architectural imagery within the work refers to ordered mental processes, related to what is traditionally considered “left-brained” thought: logical, ordered, analytical. I think of this modality as being shown by representational imagery like recognizable fragments of buildings. Conglomerations of patterns, marks, paint splotches, and less recognizable imagery correspond to a more “right-brained” modality: non-sequential, holistic, without rules, visceral.”
The artists of Grizzly Grizzly use the color black a starting point for their upcoming exhibition ‘Unessential Night’ at Coop Gallery in Nashville this July. The title of the show borrows from Alberto Moravia’s novel The Empty Canvas, referencing the “void of the unessential night,” a site of artistic anxiety and doubt.
Black serves as a visual unifier throughout the divergent work in the exhibition, and each of the artists explores ideas of process, which at times is akin to stabbing in the dark. The exhibition, featuring Jacque Liu, Matthew Alden Price, Ruth Scott, Mary Smull, Cindy Stockton Moore, and Josh Weiss will include painting, book arts, mixed media and sculpture.
Grizzly Grizzly is an artist-run project space located in Philadelphia, PA. Through exhibitions, performances, and alternative programming, Grizzly Grizzly provides a meeting-ground for dialog and a space for innovative work without the constraints of institutional agendas or commercial interests. We are committed to frank discussion and unexpected pairings. Grizzly Grizzly’s ongoing mission is to blur organizational lines, promote community, and –above all– keep taking risks. In our intimate exhibition space, we build new connections between artists, curators and our greater community, here in Philadelphia and beyond.
by Alicia Eggert
June 2nd – 30th, 2012 – opening reception June 2nd 6-9pm
Time is connected to language. One needs to be able to describe an event to recall it to another person. A clock maker is called a horologist, a Greek term derived from their word for time and speech. Our conception of time and being able to recount events is a grounding mechanism. From seconds to decades we add markers to our personal timeline. Time can conflict itself. Real time fights with our memory as the actual accounts of events shift into concise fragments. Alicia Eggert’s work asks the question how much should we trust the instruments of time we have come to rely on.
For the month of June COOP Gallery will be presenting “Keeping Time”, by Alicia Eggert. “Keeping Time” will present different ways of seeing and understanding time. The exhibition will include drawing, photography and kinetic sculpture. One kinetic sculpture repeatedly creates and destroys NOW; another reveals the hidden mathematics of life. Cyclical, linear, finite and infinite representations of time are juxtaposed. Change is the only constant.
The opening reception will feature the birth of Pulse Machine, an electromechanical sculpture with a human lifespan that was made in collaboration with Boston-based artist and engineer, Alexander Reben.
-.. .-. — — .–. -.– -.-. — .-.. ..- — -. …
by Derek Larson
May 5th – 26th, 2012 – opening reception May 5th 6-9pm
For the month of May COOP will present Droopy Totems by Derek Larson. An installation of colorful and geometric patterns in video and projected on freestanding screens. Each piece communicates through morse code with audio and light telling a bad “water cooler joke” while showing fatigue through exaggerated slouching and bent posture.
Derek Larson is from Seattle and received his MFA from the Yale School of Art and has exhibited in the US and internationally, recently he presented his Memes project at the Finnish Museum of Photography in Helsinki. He has participated in a number of residencies including the Yale Norfolk Program and Arteles in Finland. His work has been featured in the Seattle Times, NY Arts Magazine and Rhizome @ The New Museum in New York.
April 7th – 29th, 2012 – opening reception April 7th 6-9pm
COOP is proud to present a show of recent works by Elizabeth Ferrill. This exhibition will comprise printed, painted and sculptural works of surprising surface and material combinations. These works examine the duality of public and private spaces that make up our urban landscape through a playful collision of urban development geometries and fetishized surfaces.
Many of these works were inspired by the Midwest where ice cream parlors, churches, car dealerships, parking lots, strip malls, and eateries are at their finest. The works act as storyboards or pop-up books to tell the story of the experience of everyday life. The subjects in the work are all familiar but under-examined peripheries of the American vista.
Says Ferrill, “These pieces are a simplification of the complex and paradoxical atmosphere of the public world. I make scenarios that are cropped, pared-down perspectives of my surroundings. I tweak what I see until it becomes a conglomeration of snippets of my visual experience as I walk down the street. I explore these subjects with a sincere quest for beauty while at the same time enjoying their absurdity, awkwardness and potential for a quiet desirability.”
This will be Elizabeth Ferrill’s first exhibition in Nashville. The artist will be on hand for the opening reception on April 7th, so come on down to the arcade to enjoy this fine show.
More about Elizabeth Ferrill
A native of Seattle, WA, Elizabeth received her BFA in Painting and Printmaking from Cornish College of the Arts in Seattle. She received her MFA in Printmaking from the Rhode Island School of Design in Providence. Elizabeth has had solo exhibitions at the Armory Gallery at Virginia Tech in Blacksburg, Virginia, at the Gideon Gartner Gallery at Anderson Ranch Arts Center in Snowmass Village, CO and at 5x6x9 Gallery in Berlin, Germany. Elizabeth currently lives and works at Anderson Ranch Arts Center in Snowmass Village, CO.
COOP is proud to present a show of recent works by Daniele Genadry. Daniele will bring her current project, sightlines (CEL), to COOP for the month of March. The work comprises prints, paintings, books and illuminated transparencies- all of which examine the connections between sight and memory.
CEL stands for Chemin de Fer de l’Etat Libanais, (National Lebanese Railway) and is a project that began with an extinct train line that once connected the port of Beirut with the Bekaa Valley in her native Lebanon. Daniele physically retraced the train route, documenting her movement with photographs and videos. The works shown are a result of that research. They attempt to recreate a journey from both a physical and temporal distance (memory). They also refer to the act of collecting, examining and translating a set of images: first through the camera, then on a screen, printed onto paper, and physically placed in an environment. The pictures themselves acquire associations, duration and light—they become an experience.
Says Genadry, “The process that one goes through to create place, recall a journey, or understand a present, relies heavily on memory, and the construction of certain familiarities in perception. The unconscious assignment of known and unknown fascinates me. Taking a split second and elongating it so there is enough room to insert other memories, one eventually finds a familiar place.”
More about Daniele Genadry
Daniele Genadry is a multidisciplinary artist currently residing in New York. Daniele received her MFA from the Slade School of Fine Arts in London. She works in a variety of media including painting, photography and screenprinting. She has shown her work internationally with exhibitions in New York, Boston, London and Beirut, Lebanon. This is her first show in Nashville.
COOP gallery is pleased to announce its February show, “Nice to see you,” a group exhibition of four of its new members.
Alex Blau will be showing small luscious geometric airbrush paintings that combine the imagery of candy packaging, quilts and unfolding mandalas.
Amelia Garretson-Persans will show a series of watercolor and india ink drawings to explore ideas about the subconscious, secrecy, memory and destiny.
Geoffrey Aldridge’s video work often integrates acts of intimacy with relationships between identity and culture.
Paul Collins will be showing drawings and sculpture that combine humor, tactility and observation to examine the world around us.
my deepest fear is true, my reality is the case:
jonathan paul gillette
January 7th – January 28, 2012 – opening reception January 7th 6-8pm
arrival of fifth work – 6:30pm January 7th
in a dream last july i awoke with a vision from high school. my drivers education course required 3 hours behind the wheel with an instructor. as a result many hours were spent driving the natchez trace parkway with two other classmates. one day, my instructor asked to pull off at a rest stop so we could see the view. we drove up the exit, parked and walked up to the look out. before us lay the biggest expanse of land from the highest point we had ever seen.
i felt like i had climbed dharamsala
awaking to this vision i felt something awaited me if i returned to the place. that saturday afternoon i drove the natchez trace in search of a rest stop. as i entered the trace parkway i mysteriously remembered exactly where to go. after driving about an hour i arrived where i had been 10 years prior. i drove to the top, got out of my car. the view was greater than my vision.
as i walked up, there was only one park bench between me and the edge of the expanse. atop it sat a man with his back to me. as i approached he turned, of which i asked if it would be okay if i sat down. he replied, “there is enough room for the two of us.” i sat down behind him, so as not to disturb his view.
i sat and looked at the expanse, amazed at the area of land i could see and wondered why i had dreamed of it the night prior.
the man turned to me and began talking.
im not really certain what we spoke about, but after about 45 minutes i grew tired and told him it
was time for me to be heading back.
he looked me directly in the eyes and with a nod of his head said, “you ride?”
a bit confused, he nodded over my shoulder to where a Harley Davidson Motorcycle sat.
i looked back at him and in a hesitant voice replied, “no sir, but i have always wanted to.”
he looked at me, held my gaze for a moment, then said:
“i will give you advice. whatever you do in life, don’t bitch ride a Harley.”
live-prime-real-time: Matthew Page, Dmitry “Dima” Strakovsky
Opening Reception on Saturday, December 5 from 6-9 pm
Bands come up with concept albums; conceptual artists come up with bands. Well… they do if the members, Matthew Page and Dima Strakovsky, are interested in merging populist position of rock music with self-reflective qualities of contemporary art… and don’t mind shifting their cultural gears every song of every set.
Dima is a native of Russia (St. Petersburg, 1976) He completed his MFA at the School of the Art Institute of Chicago. His work spans a variety of media and has been shown both nationally and internationally.
Matt was born in Kentucky in 1979. He received his MFA from Vermont College of Fine Arts. Matt’s works are often influenced by his 15 years as a musician. He has shown nationally and his current musical project, Dream the Electric Sheep, is receiving international attention for its album “Lost and Gone Forever”.
Opening Reception on Saturday, November 5 from 6-9 pm
COOP is pleased to present “Weichteile – soft tissue”, a multi-media installation of sculpture from Nashville-based artist Sabine Schlunk, November 5-26, 2011. The objects and installations (created both in the US and Germany) translate psychological conditions into materials (sand, rocks, feathers) and sounds.
Touch is essential: with the hands, with the eyes and with the body. I represent the forces of nature with my own personal dimension. I sew body pods to the hands, feet, and legs of people with whom I have a personal relationship. Every stone, grain of sand, and mound of earth has a story to tell about losing oneself and finding oneself again. Intellect proceeds from instinct. Had I not become and artist, I surely would be an archaeologist, geologist, surgeon, psychotherapist, prehistorian, philosopher, shaman, traveler or shepherdess.
The short duration of the show is due to the gallery’s closing for Thanksgiving holiday (November 24-26).
COOP is pleased to present the multi-media work of Oklahoma-based artist, Peter Froslie. COOP invited Mr. Froslie based on his exhibition of work related to history and investigating global relationships through a range of media and technology. He makes objects (sculpture) from children’s toys that he hacks, such as Etch-A-Sketches and stuffed animals, disarming some of the heavier content of the work. He plans to exhibit an arm of his work created through virtual space around the historical figure of John Wilkes Booth.
His artist statement reads:
Intersections between art and technology are the fundamental focus in my creative process. As a researcher, I’m currently developing an art studio/ laboratory that facilitates an environment for artists to explore relationships between virtual and physical spaces. As an artist, I’m creating work that considers relationships between global media surfaces and infrastructures. The artwork I produce typically manifests across a range of media. The works often communicate shifting fictional narratives while maintaining connections to technological infrastructures, such as the internet, and sensor networks. In 2005 I started an avatar on an expedition. The avatar borrows its ‘skin’, or surface, from a historical figure (John Wilkes Booth), and its ‘innards’, or infrastructure, are an evolving component of my current work.
Froslie is a graduate of Massachusetts College of Art in Boston (MFA) and is Assistant Professor of Media Art and Technology at the University of Oklahoma. He has shown work at Samson Projects in Boston and has recently completed a residency in China.
Improve Upon Perfection: Dawn Cerny
Dawn Cerny; Improve Upon Perfection, http://dawncerny.com/
COOP gallery is excited to announce its September exhibit by Seattle artist Dawn Cerny.
The mixed-media sculpture show is entitled Improve Upon Perfection, taken from a haiku by the poet Grant Cross
Improve upon perfection
If you’re so godlike
While it seems natural enough to blame the jerks and laud the heroes, Dawn Cerny’s Improving Upon Perfection scrounges for subtler conflicts. Indeed, Cerny’s overall darkly comedic sculptural vocabulary registers under-treated paradoxes inherent in the cultural construct, from the wider polis to the nuclear family. Porcelain death masks share the stage with sheaves of bound “trash”; humanized furniture freezes inappropriately in situ, replicas of sacrosanct Americana skirt the line separating eulogy from parody. As a kind of documentary poiesis, Improving Upon Perfection steers the binary of contextual reportage toward an unstable play with gravity and the weight of matter.
Elemental Topographies: Erin Cunningham
During August COOP gallery will be presenting the work of Birmingham, Alabama artist Erin Cunningham. Consisting of sculpture and installation, Erin’s show titled Elemental Topographies instigates a cognitive moment in which one views the human form in a manner not fitting to our cultural understanding or inherent gaze. Using a mixture of casting and fabricating, Erin challenges and questions habituated social perceptions of the world around us through the use of the human form. Elemental Topographies will open August 6th and run through August 27th.
every man a winner: Steven Frost
COOP Gallery is pleased to announce its July exhibition by Chicago artist Steven Frost. Entitled “every man a winner,” Frost reconfigures heroic tropes with his own decidedly craft and design-influenced aesthetic. Consisting of sculpture and fiber-based media, “every man a winner” addresses concerns of concept and materiality. Drawing on the assumed cultural and economic value of materials, as well as the visual language of comic books, sports, popular culture and queer effect, Frost presents them in alternative contexts, eventually recycling elements of his own work into future pieces. The result is an index of ideas that point back to one cultural point of origin and simultaneously to all its subsequent uses in his work.
The show opening is July 2 from 6-9 pm, and run through Saturday, July 30.
Exit Strategy: migration : Justin Farris Braun
I’m all about happiness and everything but I don’t feel like having sunshine blasted up my ass.
Born in Duluth, Minnesota, and raised in Madison, Wisconsin, Justin Farris Braun grew up with an acute appreciation of the natural world and the hand crafted tradition. Justin received a BFA from the Cleveland Institute of Art and an MFA from The Ohio State University. Justin’s concept driven studio practice encompasses design, drawing, photography, object making and installation. Exhibiting work nationally and internationally, Justin has most recently collaborated with landscape architect Sarah Cowles for Snagged in Juarez, Mexico/El Paso, Texas and Artisterium 3 in Tbilisi, Republic of Georgia. Like a blanket of starfish crossing the ocean floor the walkers eat the sky and scrape the clouds with their teeth. Utilizing a wide variety of materials like foam, wood, rubber, fragments of elation, plastic, and latex, a floor to ceiling installation will fill the COOP gallery with endless wells of love and optimism, discarded hopes and dreams, and promises to return home. Christopher A. Yates of The Columbus Dispatch describes the piece: “Underscoring the precarious state of the present political and economic situation, Exit Strategy by Justin Farris Braun consists of a twin-size mattress held high overhead by several pieces of electrical conduit. The installation offers a humorous and dangerous spin on the old proverb ‘You’ve made your bed; now lie in it.’ ”
Street Crossing: Joshua Penrose
Joshua Penrose, a native of Columbus, Ohio, began studying piano at the age of 5. He has studied percussion performance, music composition, and electronic music. After serving as a Russian linguist in the United States Navy, he has continued making interactive sonic art and sound-based installations. He currently teaches digital art, and approaches to new media as a lecturer at The Ohio State University.
Street Crossings is a sound installation – a duet. The work performs alongside an existing gesture of municipal aesthetics in the urban soundscape of downtown Nashville. Electronic bleeps and blips punctuate the urban traffic drone when it is time cross the street. This work fills and extends that moment with a superimposed sonic layer. A multi-channel soundtrack activates the power dynamic of this auditory relationship, and momentarily surprises and delights.
Neon Sigh: Adam Henry and Emily Mae Smith
Adam Henry and Emily Mae Smith present Neon Sigh: a new collaborative exhibition between the New York based artists on view for the first time in Nashville. Working through diverse media such as painting, sculpture, drawing, and collage, the artists manipulate found objects and imagery to reorder the perception of expectation and desire.
Smith is currently Lecturer in the Art Department at Vanderbilt University. She is a graduate of Columbia University’s Visual Arts MFA program and has exhibited nationally and abroad, most recently at Portugal Arte- the Biennial international exhibition held in Lisbon. Henry holds a MFA from the Yale School of Art and is Visiting Artist-in-Residence at both Vanderbilt University and Watkins College of Art and Design. His work was recently shown in New York’s Blackston Gallery and was also featured in Portugal Arte in Lisbon. Both artists have been prominently featured in publications such as the New York Times and The Village Voice.
The show runs from April 2- 23 at the combined spaces of COOP and Twist Etc Galleries, presented as Twistcooparcadia for the duration of the exhibition in Downtown Nashville’s Historic Arcade Building, # 75 & 77.
The Opening Reception will be held from 6-9 pm on Saturday April 2nd during the First Saturday Gallery Crawl.
The Fulcrum Lost its Feather: A Collaborative Work by Daniel Evans and Shu-Mei Chan
The Coop Collective is pleased to announce The Fulcrum Lost its Feather: A Collaborative Work by Daniel Evans and Shu-Mei Chan. Daniel and Shu-Mei will build an installation using ceramic materials based on simple machines, the flight of birds, and gospel music. This exhibition will open Saturday, March 5 and continue through Saturday, March 26, 2011.
“We know that the bird rises by the resistance of the air, using his wings as levers and the air as a fulcrum.”
Bird in the Air,
by Fannie Hardy Eckstorm, 1900s
The Fulcrum Lost its Feather is a collaborative experiment between husband and wife duo, Daniel Evans and Shu-Mei Chan. Inspired by the genius of simple machines and the flight of birds, this mom & pop operation, based in Bloomington, Indiana, wondered if their collective soul could outwit their individual wills. Using a simple call-and-response approach, the two artists will use clay and each other as their starting point in creating an installation of ceramics objects and other media. At its heart, this work-in-progress is partly a love story, partly a fight, and partly wishful thinking. Who and what will prevail?
For February 2011 the COOP collective presents work by artist Robert Scobey. A Nashville native (and Lipscomb University graduate) who currently lives and works in Philadelphia (PA), Scobey employs a multidisciplinary approach including altered (“excavated”) books, sculpture and painting. Scobey seeks to mine territories of information with his work, eclectic fragments that are both powerful and intentional. He writes:
“I see the books as archaeological terrains and landscapes. They are about hiding and revealing, and after I excavate them, they often create strange and ambiguous narratives. Books relate to memory and the ways we remember. Contemporary culture encounters information through the book, but also through the television and through the Internet. The book still exists, but it exists as a ruin. As the book approaches obsolescence, literature, history and knowledge remain embodied inside of litter.”
The Coop collective will be exhibiting the video installation “Metaphase” by New York artist Dave Hebb. “Metaphase” presents a series of precarious moments where mundane experiences of nature and technology align to suggest the shape of entropy. It is a metaphysical meditation on the impermanence of structure and the structure of decay; an awareness of the dynamics of stasis. The opening will be on Saturday January 8th and run throughout the month.
Coop is located at 75 Arcade.
The Coop collective presents video works by New York artist Dave Hebb. Documenting landscapes over a long period of time Dave Hebb’s videos question the long-term global impact that industrialization has on the environment. The opening will be on Saturday December 4th and run throughout the month. Coop is located at 75 Arcade.
Wraslin’ With God by Reverend Ethan Acres
The Coop collective will be presenting a performance by Reverend Ethan Acres titled “Wrastlin With God” November 6th during the first Saturday art crawl. The performance will take place at 7:30 pm, and will serve as the inaugural exhibition in their new gallery space at 75 Arcade.