Andrew Edlin Gallery is pleased to announce Relevé, an exhibition exploring the metaphor of lifting or re-lifting, of being brought out of the ordinary moment to the extraordinary, of moving from an impossible darkness into the light. Curated by Jessica Murray the exhibition will feature works by Fritz Chesnut, Brady Dollarhide, Chris Doyle, Daniel Joglar, Todd Knopke, and Jennifer & Kevin McCoy. Relevé will open Friday June 20 with a reception from 6-8 PM and run through August 15. Gallery hours are: Monday – Friday, 10 – 5 PM.
Fritz Chesnut continues his exploration of people in states of ecstasy with a new series of portraits of sitters in the unconscious act of looking at art. Gazing upwards, the models’ wet eyes appear absorbed in consuming large masterpieces. As with many of Chesnut’s other oil paintings, the artist evokes in the viewer the powerful potential for inward movement if we open ourselves to the process of examination, consideration, and transformation.
Fritz Chesnut received his MFA from Rutgers University. His work has been included in exhibitions at White Columns, the Bronx Museum of the Arts, Momenta Art, and at Hallwalls Contemporary Arts Center in Buffalo; and has been reviewed by the New York Times and Time Out NY and featured in Harpers, Spin and Jane.
Chris Doyle will include some of his original watercolor paintings produced for Vault, a permanent installation at the Jackson County Courthouse in Kansas City, MO. Riffing on the traditional courthouse portraits of judges, Doyle expands the subject of the work to include all the courthouse employees from security guards to secretaries, from judges to superintendents. Doyle’s large-scale watercolor portraits float on the vaulted ceiling of the courthouse appearing buoyant and monumental. An homage to Michelangelo’s Sistine Chapel Ceiling, and the Italian mannerist painter Pontormo, Doyle elevates the courthouse employees’ stature by including them all equally and larger than life on the ceiling. Using the metaphor of lifting, Doyle’s work reexamines the tenants of American democracy, the fairness of the judicial system, and even further, the influence of history and politics on art.
Chris Doyle received his Masters of Architecture from Harvard University. In addition to Vault, his public projects include: The Moons -- a Percent For Art Project, Sprint Arena, Kansas City, Mo. 2007; 50,000 Beds: the Aldrich Contemporary Art Museum (Ridgefield, CT), Artspace (New Haven, CT), and Real Art Ways (Hartford, CT); LEAP in Columbus Circle; Commutable at the Williamsburg Bridge, Flock at the Socrates Sculpture Park (New York City); and What I See When I Look At You at the University of Michigan Museum of Art (Ann Arbor, MI). His work has also been included in exhibitions at PS1 Contemporary Art Center, New Museum of Contemporary Art, and Sculpture Center (New York); and acquired by the Brooklyn Museum of Art . His works have been reviewed in the New York Times, Time Out, and New York Magazine. Forthcoming public projects include Ecstatic City (Melbourne), 2008, a series of linked urban video projections at the National Gallery of Victoria, Melbourne, Australia; and Ecstatic City (Tampa), 2009, an urban project for “Lights on Tampa,” Tampa, Fl.
Jennifer and Kevin McCoy’s kinetic video sculpture, clouds 4-ufo, presents a group of onlookers watch a UFO hang motionless in the sky while faint desert clouds drift by. Tiny sculptural figures point excitedly at the object, as a video image of the scene is displayed on a small screen. The tender filmic result evokes some of our most basic human concerns about our universe and its boundaries, and exploring new frontiers or discovering new life forms. As with many of McCoys’ works, this sculpture explores how our thoughts, experiences and memories have been shaped by our consumption of cultural genres.
Their work has been included in exhibitions at the Museum of Modern Art, the Metropolitan Museum of Art, P.S.1, the New Museum, and Postmasters Gallery (New York); the Renaissance Society (Chicago); the Palm Beach ICA (Palm Beach, Florida), and Site Santa Fe (Santa Fe, New Mexico). International exhibitions include: Future Cinema at ZKM (Karlsruhe, Germany), Animations at Kunst-Werke (Berlin), Villette Numerique (Paris), and solo exhibitions at the British Film Institute (London), FACT (Liverpool) Sala Rekalde (Bilbao) and Gallerie Guy Bartschi (Geneva). Their work has been reviewed in Art News, Art In America, Artforum, Flash Art, Frieze, Wire, dArt International, Spin, the Independent, the New York Times, the Washington Post, Liberation (Paris), and el Pais (Madrid).
Brady Dollarhide’s new series of acrylic on panel paintings, inspired by a trip to California’s redwood forest, strike a mood of reawakening. Emerging from utter blackness life is given back to dense black-silhouetted woods. Lavender, blue and sage colored light stream between the dark passages permeating the seemingly impenetrable mass of shadowy branches. While composed of a series of abstract and expressionistic gestures, the painting also recalls a photographic moment--captured. Exploring the metaphor of resurrection in nature, Dollarhide connects the intense cycles of nature to a passage from one psychological state to another.
Brady Dollarhide was born in Oklahoma and received his BFA from the Ringling School of Art and Design, Sarasota, FL and studied at the New York Studio Program. His work has been shown at the Brooklyn Museum of Art, at Jessica Murray Projects (New York) and by Mars Gallery (Tokyo). Dollarhide’s work has been reviewed by the New York Times, the Village Voice and Art & Antiques.
Daniel Joglar creates installations that transform everyday materials such as post-it notes, erasers, rulers and tape into ethereal abstract sculptures. Joglar’s assemblages come together through an intuitive logic of material and visual proximity. He begins by laying out the materials and examining their physical quality and potential for illusion. Rather than working from a preconceived plan he aims to create forms that possess a vexing quality, constantly shifting in meaning from one moment to another. Poetic, humorous, and mysterious, Joglar’s abstraction is nostalgic and optimistic, impossibly simple and unexpectedly complex. For Relevé, Joglar will create a new site-specific work.
Born in Mar del Plata, Argentina, Joglar currently resides in Buenos Aires. He is one of the leading young artists in Argentina today. In 2006 his piece The Invisible Jump inaugurated the Workspace in the new Blanton Museum building at the University of Texas, Austin. He was also selected by curator Omar Lopez-Chahoud for a solo presentation at Artists Space, New York. His work has been featured across Argentina, and also in group shows in Italy, Spain, and Chile. Joglar was chosen in 1997 to participate in the prestigious Taller de Guillermo Kuitca for young artists, located in Buenos Aires.
Todd Knopke’s fantastical fabric assemblage Ascension creates an elusive but familiar narrative. Purposefully climbing a tree, his figures are hidden amongst a tangle of branches and foliage, their destination or particular goal uncertain. The association of military camouflage further embellishes this tense but lush emotive dream. As with many of Knopke’s works, the artist weaves his contemporary figures with iconic story telling imagery, enacting, in the end, the universal longing for personal place and meaning.
Todd Knopke was born in Los Angeles, CA and received his MFA from Yale University. He has shown at White Columns, I-20 Gallery and Derek Eller Gallery (New York).
For more information, please contact Jessica Murray at 646.641.6799.