ENFLAMED: NEW CERAMICS AT CAVIN-MORRIS

ENFLAMED: New Ceramics at Cavin-Morris Gallery

June 17 – August 14, 2015

We are pleased to present ENFLAMED: New Ceramics at Cavin-Morris Gallery.

The challenge of this exhibition was to continue showing ceramic sculpture outside its utilitarian function, yet still to be completely in touch with its original material: Earth.  We did not want the clay to serve merely as a platform for paint, or surface, or shape, but to continue speaking its own language.  We set out to find great artists for whom form, surface, and technique, no matter how abstract or sculptural, never lost its ceramic integrity; from the eternal simplicity of the work of Akihiro Nikaido with his classic forms and sophisticated patina while still showing his fingerprints and direct connection to his physical process, to the streamlined almost aerodynamic precision of Simcha Even-Chen's mastery of the dramatic raku process.  Also using raku firing to a completely different affect is Susan Halls, who manages to capture the quiet savageness of the animal forms she sculpts.

We chose sculptors whose work was as different from each other as possible.  We were fascinated by Mitch Iburg’s explorations of local clays fired to their ashy extremes, by the carved subtleties of Tim Rowan’s pieces which are always monumental despite size, by the wise rhythmic landscapes built through rough beautiful repetition in the large sculptures by Sarah Purvey, by the foamy mineral madness of Eddie Curtis' manipulations of porcelains, by Rafa Perez's unending shape-shifting, in this case combining metal and earth, by the innate spiritual poetry of Melanie Ferguson’s meditations on landscape and the sea, by the stark biomorphic undulations of Rebecca Buck’s abstractions, by the powerful conceptual yet very personal pulse-quickening figural sculptures of Kukuli Velardi, by the way Lesley McInally’s pieces refer to walls and street art and abstract painting and without losing sight of their clay origins, by the  almost Mesolithic structures of the work of Youngbin Lim introduced to us by Pragmata Gallery in Japan,  and the increasing surface power and abstraction of newly fired work by Akira Satake.

This is a global exploration.  We are privileged to work with these important artists and honored by their agreement to participate.

"Text Made Visible in the Works of Self-Taught Artists" by Brooke Davis Anderson

Click here to read the full article.

AVATARS OF ATCHE

AVATARS OF ATCHE:  

ANCESTRAL TOTEMS FROM TOGO AND BENIN

(MAY 7 - JUNE 13, 2015)

Cavin-Morris Gallery is honored to present an exhibition of magic and spirit expressed in intense and powerful works of art from Western Africa.  This work is all about process and intention.  It is an animistic magic that relies on Nature for its material and spiritual sources - for healing, for love, for midwifery, for remembrance, for power, for cultural resistance, and ultimately for finding a balance in human nature.  We have two kinds of objects in this exhibition with the focus on the ancestral poles that mark the safe boundaries of a village or serve to call down protective energies when placed outside a home.  The Vodun sculptures are more personal and have to do with the immediate control of Nature and one's personal well-being.  Always covert, Vodun is more in the open now.  These pieces do not represent the court art we associate with the royalty of Benin, it is the vernacular art of common people struggling to survive in a contemporary world.

Part of the exhibition includes a large selection of magic and spirit objects from the Jean-Jacques Mandel Collection from France.  This work is primarily from Benin and Togo. Often covered with a thick sacrificial patina, charged with metal, and the binding powers of ropes, these pieces from the early to mid-Twentieth Century demonstrate that Vodun is still alive, highly functioning, and changing in the contemporary Pan-African world.  It is an art in movement....never finished.

This art has developed in tandem with the vernacular arts of the New World.  There has been a constant conversation between religions in the African diaspora from the very outset....from the Americas to Asia.

For further information, please contact: 212-226-3768, or info@cavinmorris.com.

Forest Amuletum: New Sculpture by Ghyslaine and Sylvain Staelens

FOREST AMULETUM: New Sculpture by Ghyslaine and Sylvain Staelens

(MAY 7 - JUNE 13, 2015)

Ghyslaine and Sylvain Staelens make sculpture unlike anyone else in the world of art, trained or untrained. They are untrained. Their work seems steeped in ancient European history, especially from the marginalized viewpoints of mysterious hermits, heretic witches and pilgrims of no obvious religion, with a touch of organic Star Wars thrown in. Much of this has to do with their taking in the lore of the isolated part of volcanic France they chose to live after fleeing the urban madness of Paris. 

In their sparsely populated village is an old church dedicated to the Black Virgin, whose roots go back to ancient Portugal. Although the statue of the Virgin is now ensconced in a French museum, the 12th Century church, once a destination point for pilgrims, is still there. The landscape has absorbed the mystery and vitality of those earlier days, as the Staelens have absorbed the landscape into their process, making tough and poetic sculpture from materials they gather and recycle.

Their sculptures come from the forest. They do not tell us who or what they are, they do not give away any information other than what is told by the pieces themselves; by the hooded garments they wear, the spears they carry and the composure of their bodies, and the basic materials—exposed lava, metal, stones, wires and textiles--in surprising variety and complexity. Some of them are mounted, half horse, half-human.

The sculptures appear as beings that have made their homes in a real forest, in a cultural dance between dimensions, they will decide if you can enter; if they choose you, they will protect you forever. Though medieval at first glance, they are very much in the present. Nothing ever looked like them. They own whatever space they guard. They protect integrity.

For further information, please contact: 212-226-3768, or info@cavinmorris.com.

TRIBAL ART WEEK

Tribal Art Week is upon us! Stop by the gallery to see

Avatars of Atche: Ancestral Totems from Togo and Benin

FOREST AMULETUM: NEW SCULPTURE BY GHYSLAINE AND SYLVAIN STAELENS

FOREST AMULETUM:
New Sculpture by Ghyslaine and Sylvain Staelens

(MAY 7 - JUNE 13, 2015)

Ghyslaine and Sylvain Staelens make sculpture unlike anyone else in the world of art, trained or untrained. They are untrained. Their work seems steeped in ancient European history, especially from the marginalized viewpoints of mysterious hermits, heretic witches and pilgrims of no obvious religion, with a touch of organic Star Wars thrown in. Much of this has to do with their taking in the lore of the isolated part of volcanic France they chose to live after fleeing the urban madness of Paris. 

In their sparsely populated village is an old church dedicated to the Black Virgin, whose roots go back to ancient Portugal. Although the statue of the Virgin is now ensconced in a French museum, the 12th Century church, once a destination point for pilgrims, is still there. The landscape has absorbed the mystery and vitality of those earlier days, as the Staelens have absorbed the landscape into their process, making tough and poetic sculpture from materials they gather and recycle.

Their sculptures come from the forest. They do not tell us who or what they are, they do not give away any information other than what is told by the pieces themselves; by the hooded garments they wear, the spears they carry and the composure of their bodies, and the basic materials—exposed lava, metal, stones, wires and textiles--in surprising variety and complexity. Some of them are mounted, half horse, half-human.

The sculptures appear as beings that have made their homes in a real forest, in a cultural dance between dimensions, they will decide if you can enter; if they choose you, they will protect you forever. Though medieval at first glance, they are very much in the present. Nothing ever looked like them. They own whatever space they guard. They protect integrity.

For further information, please contact: 212-226-3768, or info@cavinmorris.com.

MAY 2015 AT CAVIN-MORRIS GALLERY

SANDRA SHEEHY AND ANNA ZEMÁNKOVÁ: BOTANICAL at John Michael Kohler Arts Center

SANDRA SHEEHY AND ANNA ZEMÁNKOVÁ: BOTANICAL

(February 15 - August 30, 2015)

JOHN MICHAEL KOHLER ARTS CENTER

608 New York Avenue
Sheboygan, WI 53081
P 920.458.6144 F 920.458.4473

The works of both Sandra Sheehy (UK) and Anna Zemánková (1908–1986) draw inspiration from plant life and garden scenes. Sheehy makes felted wall pieces as well as delicate sculptures reminiscent of cocoons from chicken wire, fabric, and paper, which she later encrusts with fabric, stitching, beads, sequins, and shells. Anna Zemánková’s embroideries on paper suggest botanical illustrations and reveal nature’s more mystical side. Both artists, with some measure of spontaneity, allow the imagery of the outdoor world to unfold before the viewer. Shown together, their works disclose intangible, and spiritual aspects of the plant world.

http://www.jmkac.org/

VODUN, VODOU CONJURE Online Catalog

Click here to view our online catalog for

VODUN, VODOU, CONJURE: The Animistic Arts of the African Diaspora

VODUN, VODOU, CONJURE: Animistic Arts of the African Diaspora

 VODUN, VODOU, CONJURE: THE ANIMISTIC ARTS OF THE AFRICAN DIASPORA 

(MARCH 26 - MAY 2, 2015)

Cavin-Morris Gallery is honored to present an exhibition of magic and spirit expressed in intense and powerful works of art from Africa, Haiti, Jamaica, and the United States.  Stereotypical language falls apart when speaking about this kind of magic.  The end product of the piece is less important than the means by which it was made.  It is all about process and intention.  It is an animistic magic that relies on Nature for its material and spiritual sources - for healing, for love, for midwifery, for remembrance, for power, for cultural resistance, and ultimately for finding a balance in human nature.

Conjure and Vodou’s earliest manifestations were in the Old World (Africa), but when the slaves were forced here from West Africa and the Kongo area, it was remembered and reinvented (creolized) in an American form.  Always covert, Vodun is more in the open now.  It is not the court art we associate with the major empires of Benin, it is the vernacular art of common people struggling to survive in a contemporary world.

Part of the exhibition includes a large selection of magic and spirit objects from the Jean-Jacques Mandel Collection, and other collections that have not been seen in this country before.  This work is from Togo, Benin, and Tanzania.  Often covered with a thick sacrificial patina and charged with metal and the binding powers of ropes, these pieces from the early to mid-Twentieth Century demonstrate that Vodun is still alive, highly functioning, and changing in the contemporary Pan-African world.

The ancestors of these Pan-diasporic peoples provided the ethos and spiritual influences for the black people of Haiti, Jamaica and the United States.  The pieces from Jamaica include art by the Athertons, father and son, Everald Brown, and Errol McKenzie and were made to use in spiritual ceremonies, or as amulets of protection.  We will be showing some very early and rare ironwork from Haiti including an iron staff of Dambala made for a Vodou temple, and a Masonic sword.  Many practitioners who took Legba, the lwa (loa) of the crossroads as a spirit guide were also Masons.  We will also show some temple flags of sequined cloth.  From the United States we will honor the work that extends from the Southern Black Belt yard show or conjure complex with pieces by Bessie Harvey, Kevin Sampson, important works not shown before by Georgia artist J.B. Murray, and sculpture by Osker Gilchrist who used bleached white animal bones on his property in compositions to ward off evil spirits.

There will be an accompanying on-line catalog to explain the connections between these works in the African and African American religious experience as modes of resistance and transcendence.

Angkasapura Online Catalog

Click here to view the Angkasapura catalog on ISSUU.COM

VODOU IN POWERFUL WORKS OF ART

Click here to read about our upcoming Vodou exhibition (March 26th - May 2, 2015)

http://disinfo.com/2015/03/vodou-powerful-works-art/

IN DREAMS BEGIN RESPONSIBILITIES: 30 YEARS AT CAVIN-MORRIS

IN DREAMS BEGIN RESPONSIBILITIES: 30 YEARS AT CAVIN-MORRIS

February 19 – March 14, 2015

Cavin-Morris is pleased to present an exhibition celebrating and reflecting upon its 30th anniversary as a gallery.  We have traveled many non-mainstream roads in those 30 years, some hard, some easier, all of them unpredictable, and all of them filled with some of the greatest art, friendships, mysteries, and adventures we could ever ask for. 

We’ve eschewed a nostalgic review and chosen to gather an abstracted impression of those years, an attempt to show in these works of international self taught artists, arts of the ethnosphere, ceramics and textiles, the inspirations that still excite us about having an eclectic gallery in New York in these decidedly interesting times.

We will feature work from artists who have been with us from the beginning such as the intricate slave boats of Kevin Sampson, to the dangerous and exquisite drawings of Anna Zemánková. Newer discoveries in recent years include the visionary drawings of Angkasapura from Java and Solange Knopf of Belgium, the haunting amuletic sculptures of Ghyslaine and Sylvain Staelens, and the anarchitectural towers of Sylvain Corentin.  We will exhibit works from the estates of J.B. Murray and Melvin Edward Nelson.  We will show art brut from Japan, as well as contemporary ceramics from Western and non-Western sculptors.  We will show masks from all over the world.

We exhibit a wide range of art.  In an attempt to find underlying connective themes we use words such as timelessness, a respect for the materials used linking to a respect of nature, and the drive in all the creators to go beyond surface beauty in search of artistic expression.  These ideas will be the binding themes of the exhibition.  This exhibition is a tribute to those artists whose integrities have always given us the courage to push forward.  This exhibition is also a thank-you to those scholars, critics, curators, and collectors who have inspired us, and whose support has made our continuation possible.

For further information, please contact: 212-226-3768, or info@cavinmorris.com.

J.B. Murray Film Footage

Incredible and rare footage of J.B. Murray from circa 1986 via Judith McWillie. 

John Bunion (J. B.) Murray (1908-1988) was a farmer who lived in rural Glascock County, Georgia, near the community of Mitchel. When he was approximately seventy years of age, believing he had experienced a vision from God, he began writing a non discursive script on adding machine tape, wall board, and stationery.

J.B. Murray, Untitled, c. 1978-1988, Marker, ink on paper, 14 x 10.5 inches, JBM 398

JOHN MICHAEL KOHLER ARTS CENTER - BOTANICAL

SANDRA SHEEHY AND ANNA ZEMÁNKOVÁ: BOTANICAL

at the John Michael Kohler Arts Center:

February 15–August 30, 2015

The Anarchitecture of Sylvain Corentin

The Design Observer
Author: John Foster

Sylvain Corentin is a self-taught artist living in the South of France. A former architect, he is constantly imagining and building fantastical constructions, which he fondly refers to as “Anarchitectures.” In his own words, his sculptures “build a bridge between the image of a utopian past and the reality of our future, to erase the contradictions that exist between these two concepts, with hopes that we find beauty in seeing the world as it exists now, without projections.” (Read more...)

AN ART OF HALLUCINATION AND HEALING

Author: Edward M. Gomez

It is no secret that many works of art can be characterized by a powerful therapeutic aspect, which functions as much for the people who create them as it does for those who view them. Even photographic reproductions of pre-historic, cave-wall paintings can pack a potent, psychic-emotional punch.

For the Belgian self-taught artist Solange Knopf, making art has been a soul-soothing, inexplicably rewarding activity. As she plainly states, producing her art has given her a fulfilling sense of personal identity, something she sorely lacked until well into adulthood.

Humble in the face of the mysterious nature of artistic, creative energy – her own or that of any other art-maker – Knopf says she is awed by the thought of where it comes from and how, through her own efforts, it is released. A little bit world-weary and admittedly somewhat timid or cautious by nature, Knopf is a contemporary woman who has experienced some of modern life’s typical but still daunting tribulations – and emerged stronger and more self-aware as a result of those unsettling episodes.

Image: Behind the Darkness No. 1, 2013, mixed media on paper, 28.74 x 31.1 ins., 73 x 79 cm

Purchase to view the entire article: 

 Raw Vision #84