2017 YEAR IN REVIEW
revisiting some of last year's peripheral gallery programs
Resource | Baltimore, Maryland
January 16, 2018
Terrault, founded in 2014, is an artist-run art gallery that shows multidisciplinary exhibitions that focus on innovative techniques as well as socially relevant themes. Terrault strives to provide an approachable and intersectional platform for local and regional emerging and mid-career artists to collaborate, publicly show their work, and host engaging cultural events.
by Erin Fostel
January 14 - February 4, 2017
The architectural drawings Erin Fostel is currently working on came about through grieving the loss of her father in late 2014. He was an architect who enjoyed exploration, always interested in finding new ways to get from here to there. She wanted to create a body of work that served as both a commemoration of his life, and a relief from the heartbreak of his death.
She started exploring parts of Baltimore City she did not know well. At some point, she began taking photographs of certain buildings and structures that caught her attention, ones she thought would have been of interest to her dad. These ruminations, explorations, and photographs have become the foundation for her new body of work.
Fostel’s goal is not to simply document buildings. She wants to capture feeling, either her own somber feeling or a feeling she thinks a building can personify. She often manipulates the light and dark areas within her compositions, taking artistic liberties when applying the charcoal. As she has progressed in the series a desire to leave parts of the structures unfinished has developed, alluding to a sense of loss or emptiness. The challenge of balancing highly rendered areas with the underlying minimal framework of lines has become a focus, one that she anticipates will evolve as her exploration of the City continues to deepen. To leave the framework of the drawing visible is an attempt to reveal not only the immensity of the structure, but also the immensity of her grief.
The Opening of the Museum of Trayvon Martin: A Meeting before Labor
Presented by Malcolm Peacock
February 11 - March 4, 2017
A Meeting before Labor explores different ways of perceiving and handling the realities of projections and inflictions of violence upon Black bodies and lives. Through the presentation of objects that have been gifted to the museum, this exhibition calls for recognition of the diverse and potentially powerful narratives of and born out of Trayvon Martin’s lasting legacy.
Artists and Contributors:
Natasha B. Peacock
Special Thanks to Martine Syms, Kerry James Marshall, Ralph Ellison, Tracy Martin, and Sybrina Fulton.
Not the Grammys: Second Annual Juried Exhibition
Juried by Stephanie Barber, Mina Cheon, and Amy Sherald
March 11 - April 1, 2017
Austin Ballard, Ridgewood, New York
Tyler Bohm, Columbus, Ohio
Andrew Flanders, Baltimore, Maryland
Justin Levesque, Portland, Maine
Anuj Malla, Baltimore, Maryland
Antonio McAfee, Baltimore, Maryland
Art Morrill, Baltimore, Maryland
Bryan O'Neill, Bel Air, Maryland
Heather Ossandon, Philadelphia, Pennsylvania
Tyler Vipond, Toronto, Canada
Luyi Wang, Baltimore, Maryland
Stephanie Barber is an American writer and artist. She has created a poetic, conceptual and philosophical body of work in a variety of media. Her videos are concerned with the content, musicality and experiential qualities of language and her language is concerned with the emotional impact of moments and ideas. Each ferry viewers through philosophical inquiry with the unexpected oars of empathy, play, story and humor. Barber’s films and videos have has been screened nationally and internationally in solo show and group shows at MOMA, NY; The Tate Modern, London; The Whitney Museum of American Art, NY; The Paris Cinematheque; The Walker Art Center, MN; MOCA Los Angeles, The Wexner Center for Art, OH, among other galleries, museums and festivals. Her videos are distributed by Video Data Bank and her films can be found at Canyon Cinema and Fandor.com. Her books Night Moves and these here separated... were published by Publishing Genius Press in 2013 and 2010 respectively. Her recent collection of very short stories All The People was published by Ink Press Productions in 2015.
Mina Cheon (천민정 PhD, MFA) is a Korean-American new media artist, scholar, and educator who divides her time between Seoul, South Korea, Baltimore, and New York. Cheon has exhibited her political pop art known as “Polipop” internationally. Polipop draws inspiration from global media and popular culture and makes work that intersects politics and pop art in subversive yet provocative ways. In particular, the artwork focuses on geopolitical and contested spaces and political pop icons while responding to Asia’s relationship with the Western world in global media culture. Cheon’s work is in the permanent collection and/or archive of the Smith College Museum of Art (MA), Sungkok Art Museum (Seoul), Maryland Art Place (Baltimore), Hirshhorn Museum Video Collection (DC), SSamzie Art Collection (Paju), and EVR e-ﬂux video rental at Museum of Modern Art (Ljubljana). Other recent activities include being invited as the inaugural artist for the gallery space of the RE/PUBLIC and revisiting The Dokdo Project this spring 2016. As an educator, Cheon is a full-time professor at the Maryland Institute College of Art (MICA) Cheon received her PhD in Philosophy of Media and Communications from the European Graduate School, European University for Interdisciplinary Studies, Switzerland, and published her book Shamanism + Cyberspace (Atropos Press, NY and Dresden, 2009) that was adapted from her dissertation. Her recent publication includes “The Konglish Critique” in Beyond Critique (Maisonneuve Press, MD, 2013) Cheon has two MFA degrees, one in painting from the Hoffberger School of Painting (1999), MICA and another MFA in Imaging Digital Arts from the University of Maryland, Baltimore County (2002). Her BFA is in painting from Ewha Womans University, Seoul, Korea (1996), where she was a visiting professor in 2011 and lecturer since 2010.
Amy Sherald was born in Columbus, Ga. in 1973. She attended Clark- Atlanta University where she earned a Bachelor’s of the Arts in painting in 1997. While attending Clark-Atlanta she became an apprentice to Dr. Arturo Lindsay who was her painting instructor at Spelman College. She was a participant of the Spelman College International Artist-in-Residence program in Portobelo, Panama in 1997. Sherald also assisted in the installing and curating of shows in the Museo de Arte Contemporaneo (Museum of Contemporary Art Panama) and the 1999 South American Biennale in Lima, Peru. In past years her work has been autobiographical but has changed in response to her move to Baltimore, MD and has taken on a social context with a allegorical twist. Sherald attended the Maryland Institute College of Art where she earned her M.F.A. in painting in 2004. After graduating she secured a prestigious private study residency with well-known Norwegian painter Odd Nerdrum whom she lived and studied with in Larvik, Norway. She also attained an artist residency assistantship at the Tong Xion Art Center in Beijing, China in 2008. Sherald was chosen as Jurors Pick of the New American Paintings Edition 88. Her work was mostly recently acquired by the National Museum of Women in the Arts, and the Smithsonian Museum of African American Art in Washington, D.C. In addition, she was also a recipient of the Pollock-Krasner Foundation Grant, and the Joan Mitchell Foundation Painting and Sculpture Grant. Sherald is currently living and working out of Baltimore, Maryland.
In a Dignified Fashion
By Devin N. Morris
April 8 - May 6, 2017
In a Dignified Fashion explores how experiences materialize in the intermediary ephemeral space that exists between a dream and a memory. A memory bank, or life archive, stores impressions left by past experiences. These impressions, like dreams, weave themselves to past physical experiences that alter our perceptions of reality itself. In this body of work, Morris uses various mediums to subvert value systems found in American life. In particular, he abstractly depicts the intersections of consumerism, queer identity, family ties, and urban geographies found in the American Black experience. These works are filled with a children’s book-like joy and look to break commercial, sexual, and imaginary desires down to facets of visual stimulations that question the validity of our reality.
As an extension of this exhibition, Morris will curate a zine library with titles by various artists and zine makers. Eighteen collaged cover variations of Morris’ book, “Baltimore Boy,” will be exhibited, with copies available for browsing and purchase in the library.
Devin N. Morris is a Baltimore born, Brooklyn based artist who is interested in abstracting American life and subverting traditional value systems through the exploration of racial and sexual identity in mixed media paintings, photographs, writings and video. His works prioritize displays of personal innocence and acts of kindness within surreal landscapes and elaborate draped environments that reimagine the social boundaries imposed on male interactions, platonic and otherwise. The use of gestural kindnesses between real and imagined characters are inspired by his various experiences growing as a black boy in Baltimore, MD and his later experiences navigating the world as a black queer man. Memory subconsciously roots itself in the use of familiar household materials & fabrics, while symbolically he arranges it. Looking to buoy his new realities in a permanent real space, Morris posits his reimagined societies as a prehistory to futures that are impossible to imagine.
Morris is also the editor of the great collaborative effort 3 Dot Zine, which is an annual publication that celebrates the futurity of minorities, in addition to serving as a forum for invited artists to center and elaborate on marginalized concerns. He has exhibited in America and Brazil, with short stories and visual works also appearing in NYU’s ISO Magazine, Nii Journal (London), Picture Newspaper and Packet Bi-Weekly Zine amongst others. He recently hosted the first Brown Paper Zine & Small Press Fair for Black & PoC Artists at MoCADA Museum in Brooklyn, NY in January, and, in collaboration with KAHLON, The Agency, will host the second iteration in Baltimore, MD this April. He will release the third issue of 3 Dot Zine in Summer 2017.
By Alberto Condotta, Jodie Wingham, and Andrea Jaeger
May 13 - June 3, 2017
Photo Flesh is a collective exhibition exploring the sensuous quality of photography through the logics of other artforms (and vice versa).
Photo Flesh presents paintings and installations exploring the photographic, in which photography takes the role of the protagonist to seduce its audience, not for what it represents, but for its own sensual quality. Far from indexing frozen time, here photography makes its voice heard only to state its presence, which is both hard and fragile at the same time.
In Jodie Wingham’s work, photography is inseparably coupled with minimalistic metal sculpture, producing sensuous paradoxes.
Painting and photography coexist in Alberto Condotta’s work. On the one hand it may be considered ‘photography’, as it is made exclusively of it. On the other hand it is also ‘painting’, as post-production aspires to maximum visibility.
In her transmedial practice, Andrea Jaeger does not take photography as a given discipline but as something to repeatedly reinvent. In her latest work, she materialises photographs as 2D light flimsy surfaces that, nevertheless, work environmentally.
At the crossroad between modernism (geometric shapes) and postmodernism (transmediality), the artworks in Photo Flesh share a similar aesthetic and a similar reduced palette. Whether wall-hung, on wall-mounted screens, on plinths, hung from the ceiling, leaned against walls, the artworks will set a fleshy dialogue with Terrault Gallery’s gallery space.
Curated by Esther Ruiz
June 10 - July 1, 2017
Whether temporary, permanent or in this context imagined, humankind has been making structures as long as we’ve existed. These structures mark time, history and memories, sometimes functional and others monumental.
The artists in Deconstructed all employ their individual aesthetic in making their own “structures”. Borrowing likeness from household items, architecture, formalism, symbols, and found materials, these artists deconstruct preconceived elements of structure to create distinct visual languages. At times combining the familiar with the unfamiliar and juxtaposing abstraction with representation while deconstructing defined uses of material, scale and imagery.
Degges alters quick snapshots of his labored paintings by zooming in and blurring them, he then prints them on canvas. Distancing the photographs and himself from the original paintings he deconstructs his own process to create fresh imagery.
Delosh combines hieroglyphs, symbols, and her own studio sketches to create an imagined structure that provokes the viewer to contemplate both the importance and humor of a monument.
Jensen boldly tops a wooden Dutch stool with a hand made ceramic “dunce cap” evoking caution and humor but also drawing into question the function of a stool to that of a pedestal.
Commemorating fragments of material that each found surprisingly beautiful and poetic, Bell and Hein surround found wood and linoleum with odd shaped structures of foam and Plexiglas.
Evoking household items and architecture, Baron and Salas eliminate color to highlight minimalist structures. A mailbox, a birdhouse, a doorway; these familiar objects are deconstructed and re-imagined as abstract forms calling into question the relationship of the body to the work.
While Mikhailovskaia’s work also uses a monochrome palette, her work deconstructs preexisting notions of scale by shrinking somewhat formalist sculptures to coffee table size pieces, calling to mind the all white works of predecessor Cy Twombly but with a more playful tone.
King explores, mixes and deconstructs the intellectual structures of the mind, using imagery from the depths of the subconscious and combining them to create abstract visual landscapes of the mind.
Through the Layers Pt. 1
By Antonio McAfee
July 8 - July 29, 2017
Antonio McAfee’s visual riffs on traditional portraiture in his reimagined photographs open a space for change that leads to awareness of doubt, questioning, and increased possibilities of who these individuals are or could be. By saturating visitors’ vision with red and blue, a new base color palette of seeing is established from the originals. In combination with 3D glasses the figures and environments shift further. The interaction between viewers and photographs is geared to provide new experiences in perception, with hopes to create a new normality when it comes to ways of perceiving.
Appropriating photographs from W.E.B Du Bois and Thomas Calloway’s Exhibition of American Negroes (1900) into various 3D images and collages, McAfee attempts to provide alternate ways to see black figures, ways that allow for the subjects to have multitudes of possibilities, real and imagined within a still image. In McAfee’s exhibition Through the Layers Pt. 1, the reimagined images provide a less static and more inexplicable depictions of the individuals, breaking down their image to reveal red and blue versions that play with the act of viewing and perception. Shifting positions while viewing the images allows the audience to view these sitters in a state that is in flux, opening up an engagement that is physical and pictorial and aims to redefine normality.
The photography series by Du Bois and Calloway was commissioned by congress and support from Historically Black Colleges and Universities in order to provide a pictorial, economic/social, and legislative survey of middle-class African Americans in Georgia, which consisted of studio portraits, Georgia black codes (laws pertaining to blacks from 1797), and charts and graphs detailing economic information and migration patterns.
“The brain did not evolve to see the world the way it is…the brain evolved to see the world in a way that was useful to see in the past…we inherit perception…” states Beau Loto. As essential and urgent it was for the Exhibition of American Negroes to redefine the depiction and understanding of middle-class blacks in Georgia to combat racist depictions and ideas, McAfee’s Through the Layers Pt. 1 is continuing that legacy of setting new precedents of what is expected. With various options for interacting with these representations McAfee adds to the cycle of upgrading our perception of others that could start a constructive shift in biases and assumptions they would be passed on, crafting new legacies.
Antonio McAfee is a photographer raised and based in Baltimore, MD. McAfee’s work addresses the complexity of representation. Through appropriating and manipulating portraits, he reworks images to provide alternate views of the figures.
He received his BFA in Fine Art Photography from the Corcoran College of Art and Design and MFA from the University of Pennsylvania. He received a Post-Graduate Diploma in Art in Arts and Culture Management from the University of the Witwatersrand (Johannesburg, South Africa). Recent exhibition venues include University of Maryland, College Park's Stamp Gallery, George Washington University's Gallery 102 (Washington, DC), and Corcoran Gallery of Art (Washington, DC).
By Se Jong Cho &
by Se Jong Cho
August 5 - 26, 2017
Conditional Lights consists of paintings with light boxes and wood sculptures housing lights by Se Jong Cho and Dave Zimmerman. Both artists create an experience to translate their conscious minds through the exhibited works, which become a lexicon of the audience's conscious mind. Because experiencing is inherently more abstract than viewing, the content they can share through the created experience can be greater than through visual perceptions alone. Through these objects, the artists intervene the light, the source of one’s vision. The audience becomes part of the exhibit as the lights are triggered by their presence when passing the work. The illuminated works remain lit for three minutes and then turn off when no further movement is registered.
in/outside room/f consists of paintings by Se Jong Cho that depict various rooms or roofs along with artifacts that mimic the paintings in the space that are presented. She painted the rooms and roofs as a context to explore her intuition. The placement of the objects inside of a room or outside on a roof is arbitrary with no symbolic gesture. The result is a certain style: a precise depiction of objects using controlled color selection. Cho refers to Cocteau who writes: “Style is the soul, and unfortunately with us the soul assumes the form of the body” in refuting the decorative encumbrance any work of art with style may face. These paintings are things depicted through a certain style that should be experienced, because there is no content in these paintings, but aim to captivate the audience.
Se Jong Cho (b. Seoul, South Korea, 1978) is a Baltimore-based painter and scientist. Cho began painting four years ago and sees painting as a way to stretch her existence because every painting for her, is a portal to a different world with new experiences in it. Cho paints to explore the extent of her imagination and to expand her ability to express it through various scientific, engineering, and philosophical interpretations. She subscribes to the idea that art is a collective process, and hopes that her work can trigger the audience to explore the depths of their conscious minds beyond the representations in the physical world.
Cho has recently shown at Project 1628, Open Space, Current Space, Metro Gallery, and Windup Space in Baltimore. Cho holds a B.S. in Civil Engineering from Northwestern University, 2003; M.S. in Environmental Engineering from Johns Hopkins University, 2009; M.S.E in Environmental Management and Economics, from Johns Hopkins University, 2014; and a Ph.D. in Environmental Engineering and Policy Analysis, from Johns Hopkins University, 2017.
David Zimmerman (b. Baltimore, 1978) is a Baltimore-based woodworker and furniture maker. He honed his woodworking skills fabricating displays, pedestals, and other structures for artists, galleries, and museums, including P.S. 1, Folding Enterprises, and the Baltimore Museum of Art. Through his furniture practice, Zimmerman seeks to blur the line between art and utility. He emphasizes playful angles, natural imperfections and rough-cut edges to create pieces that are both eye-catching and functional.
A Woven Thread
Alex Dukes and Liora Ostroff
September 9 - October 28, 2017
Alex Dukes’ paintings are an autobiographical exploration of memory, identity, race, and how they all are intertwined. She recalls moments ranging from lighthearted childhood games with siblings, to heavier memories transitioning into adulthood. The presence of hands and feet reaching out and extended in her paintings work as a way of connecting the feeling of touch along with the innocence and carefree nature of a child. Dukes’ use of saturated colors represent the energy and noise of memory. She exaggerates the intensity of the colors and patterns in order to mirror the energy of the moments she experienced growing up in a large musical family.
Liora Ostroff’s current body of work uses paired art-historical themes with imagery drawn from contemporary life. Giotto’s architectural compositions meet Baltimore’s brick facades, and stiff groupings of saints become young partygoers and couples. She references Da Vinci’s lyrical hand gestures or Van Eyck’s colorful motifs to compose a new scene. Either violent or serene, these paintings exemplify Ostroff’s contemplations on time, place, politics and the self. Lust devolves into a misandrist fantasy; a quiet Shabbat table setting is overcome with swastikas. The incessant specter of droning helicopters over the city replaces the glow and radiance of angels, which are so ubiquitous in the Renaissance compositions. In these paintings, history and the present collapse in on each other.
Alex Dukes (b. 1994) grew up in Long Island, New York with her mom, dad, two brothers, and four sisters. Over the years, her work shifted from solely focusing on the body and representational drawings and paintings to colorful personal narratives that centered on her family, Trinidadian American heritage, femininity, and blackness. She received her BFA in Painting at the Maryland Institute College of Art in spring 2017.
Liora Ostroff (b. 1993) is an artist living and working in Baltimore, MD. She graduated from MICA with a BFA in 2016. Her work has been shown in Baltimore at the John Fonda Gallery and in Philadelphia at Little Berlin.
Super Hot Female
by Corynne Ostermann
November 4 - December 23, 2017
In this body of work, Corynne Ostermann examines the digitization and creation of pop cultural images of femininity. As an individual who also works within the music industry, she is interested in the intersection of reality, digital reality, and hyper produced imagery through mainstream pop outfits (major record companies, advertising agencies, specific designers, etc.), and how these pop channels and imagery create a communal dissertation of pop femininity to be consumed at rapid-fire online as well as replicated in the real world. By using decades-old images of pop stars, cheesecake pin-ups, dead princesses, or out-of-date imagery, the work in Super Hot Female invokes non-linear notions of time, nostalgia, and the future through compressed and collaged digitally-collected images.
Working with banal feminine symbols, words, and objects juxtaposed with moments of abstraction, recognizable images and objects, Ostermann creates grids, windows, and overlapping image structures that create a screen through which the picture is perceived. These filters are intentionally defunct, employing layers of transparency and overlap to suggest destabilized meaning and subjective response. The intersection of symbols and recognizable objects and moments of abstraction propose notions of fantasy, decoration, femininity, and the digital realm, as well as root the symbols in a nonexistent material and bodily plane.
Corynne Ostermann is an artist/musician and performer based in Baltimore, MD. She produces paintings, collages, drawings, films, and the occasional three-dimensional object. She also creates and performs music with her band, Natural Velvet, as the front woman vocalist and bassist, where she is known for her unique voice and aggressive bass playing.
Ostermann was born in the western suburbs of Chicago and attended Interlochen Center for the Arts in Interlochen, MI as a high school student. Ostermann graduated Summa Cum Laude from Maryland Institute College of Art in 2013 with a degree in painting and gender studies. Her band, Natural Velvet, has released four records including this year’s full-length Mirror To Make You, out on Friends Records. They have toured the US extensively, and have been featured in such publications as Elmore Magazine, Bitch Media, and Impose Magazine.
218 W. Saratoga St. 3rd Floor | Baltimore, MD
Hours: Saturdays 1pm-5pm
All images courtesy of Terrault.
A posting of any length based primarily on submissions but also compiled through research by The Rib. Resource shares press releases, exhibition details, photo essays, interviews, podcasts, and other original content generated by galleries or alternative sources. Resource establishes a critical dialogue or discourse for artists and institutions by simply sharing information in a network connecting networks.