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CAVIN-MORRIS GALLERY

  • Exhibitions
    • Current Exhibitions
    • Upcoming Exhibitions
    • Past Exhibitions
    • Online Exclusive: Mahmoodkhan
    • Online Exclusive: Mizusashi
  • Artists
    • Self-Taught (A-L)
    • Self-Taught (M-Z)
    • Contemporary
    • Ceramicists (A-L)
    • Ceramicists (M-Z)
  • Publications
    • Catalogs
    • Books
  • Fairs
  • Appraisals
  • Fieldnotes
  • Accessibility
  • New Arrivals
  • Contact

Spotlight (June 30 - August 19, 2016)

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Friday 07.08.16
Posted by caroline casey
 

Summer Spotlight

View fullsize   Gregory Van Maanen    The Science of Writing  , 8/28/1981 Acrylic on board 12.5 x 17.25 inches 31.8 x 43.8 cm GVM 73
View fullsize   Gregory Van Maanen    Woman  , 5/1/1984 Acrylic on canvas 24 x 16 inches 61 x 40.6 cm GVM 98
View fullsize   Gregory Van Maanen    Wolfgang (the Lizard) Before The War  , 5/1/1986 Acrylic on canvas 18 x 14 inches 45.7 x 35.6 cm GVM 116
View fullsize   Gregory Van Maanen    Untitled (Splayed Figure on Yellow)  , 1978 Acrylic on board 28.5 x 22 inches 72.4 x 55.9 cm GVM 128
View fullsize   Gregory Van Maanen    Spirit Hand  , 1993 Oil, enamel, acrylic on wood 66 x 48 inches 167.6 x 121.9 cm GVM 754
View fullsize   Gregory Van Maanen    Contact/Guardian Angel   Acrylic on canvas 37 x 32 inches 94 x 81.3 cm GVM 2480
View fullsize   J.B. Murray    Untitled  , c. 1978-1988 Tempera, marker, crayon, and ink on paper 23.75 x 18 inches 60.3 x 45.7 cm JBM 431
View fullsize   J.B. Murray    Untitled  , c. 1978-1988 Tempera, marker on paper 24 x 18 inches 61 x 45.7 cm JBM 435
View fullsize   J.B. Murray    Untitled  , c. 1978-1988 Tempera and ink on paper 24 x 18 inches 61 x 45.7 cm JBM 439
View fullsize   J.B. Murray    Untitled  , c. 1978-1988 Tempera and ink on paper 25 x 19 inches 63.5 x 48.3 cm JBM 471
View fullsize   J.B. Murray    Untitled  , c. 1978-1988 Tempera and marker on paper 24 x 18 inches 61 x 45.7 cm JBM 487
View fullsize   J.B. Murray    Untitled   , c. 1978-1988 Tempera on paper 25 x 19 inches 63.5 x 48.3 cm JBM 502
View fullsize   Joseph Lambert    Untitled  , 2012 Mixed media on cardboard 8.5 x 14.49 inches 21.6 x 36.8 cm JLam 4
View fullsize   Joseph Lambert    Untitled  , 2014 Mixed media on paper 18.11 x 25.2 inches 46 x 64 cm JLam 5
View fullsize   Joseph Lambert    Untitled  , 2015 Mixed media on cardboard 19.69 x 27.56 inches 50 x 70 cm JLam 6
View fullsize   Joseph Lambert    Untitled  , 2014 Mixed media on paper 10.12 x 20.24 inches 25.7 x 51.4 cm JLam 10
View fullsize   Joseph Lambert    Untitled  , 2014 Mixed media on paper 10.12 x 20.24 inches 25.7 x 51.4 cm JLam 11
View fullsize   Joseph Lambert    Untitled  , 2015 Mixed media on paper 11.69 x 16.54 inches 29.7 x 42 cm JLam 12
View fullsize   Melanie Ferguson    Urchin 12  , 2013 Handbuilt stoneware (coil method), sgraffito, oxide stains, crackle slip 15 x 11 x 8 inches 38.1 x 27.9 x 20.3 cm MFe 4
View fullsize   Melanie Ferguson    Urchin 9  , 2013 Handbuilt stoneware (coil method), sgraffito, oxide stains, crackle slip 11 x 12 x 8 inches 27.9 x 30.5 x 20.3 cm MFe 5
View fullsize   Melanie Ferguson    Rippled Resonance Inhales The Way  , 2013 Handbuilt stoneware (coil method), sgraffito, oxide stains, crackle slip 14 x 13 x 9 inches 35.6 x 33 x 22.9 cm MFe 6
View fullsize   Melanie Ferguson    Circles In The Sand  , 2014 Handbuilt stoneware, sgraffito, flashing slips, oxide stains, celedon liner. Soda fired, heavy reduction 11 x 12.5 x 10 inches 27.9 x 31.8 x 25.4 cm MFe 25
View fullsize   Melanie Ferguson    Voices In The Wind  , 2015 Handbuilt stoneware, sgraffito, crackle and flashing slips, oxide stains, black matt glaze liner. Soda fired, heavy reduction 12 x 10 x 9 inches 30.5 x 25.4 x 22.9 cm MFe 26
View fullsize   Melanie Ferguson    Ripe Berries Moon  , 2015 Handbuilt stoneware, flashing slips, oxide stains, soda fired, heavy reduction 15 x 10 x 8 inches 38.1 x 25.4 x 20.3 cm MFe 27
View fullsize   Melanie Ferguson    Their Eyes Grew Round Like Moons  , 2015 Hand built stoneware, flashing slip, oxide stains, Pier Black liner, soda fired in heavy reduction 13 x 16 x 10 inches 33 x 40.6 x 25.4 cm MFe 30
View fullsize   Melanie Ferguson    Engaging Currents of an Endless Sea  , 2016 Hand built stoneware, flashing slip, oxide stains, wood, iron, steel; fired in soda 13.5 x 16.5 x 11 inches 34.3 x 41.9 x 27.9 cm MFe 31
View fullsize   Melanie Ferguson    Restricted Zone  , 2016 Hand built stoneware, sgraffito, flashing slip, oxide stains, celedon liner, gas fired soda 8 x 13 x 13 inches 20.3 x 33 x 33 cm MFe 32
View fullsize   Melanie Ferguson    Flying Above The Storm  , 2016 Hand built stoneware, flashing slip, oxide stains, wood; fired in soda 13 x 14 x 10 inches 33 x 35.6 x 25.4 cm MFe 33
View fullsize   Melanie Ferguson    Battles Left Behind  , 2016 Hand built lidded vessel; stoneware, flashing slip, glaze, oxide stains, gas fired in soda, bone, glass, dandelion seed, wire, silver, leather 17 x 13.5 x 10 inches 43.2 x 34.3 x 25.4 cm MFe 34
View fullsize   Rafa Perez    Untitled  , 2011 Ceramic 6 x 8.5 x 5.5 inches 15.2 x 21.6 x 14 cm RPe 5
View fullsize   Rafa Perez    Untitled  , 2011 Ceramic 6.25 x 11 x 5.75 inches 15.9 x 27.9 x 14.6 cm RPe 11
View fullsize   Rafa Perez    Untitled  , 2011 Ceramic 7.5 x 12 x 5.5 inches 19.1 x 30.5 x 14 cm RPe 14
View fullsize   Rafa Perez    Untitled  , 2011 Ceramic 2.5 x 12 x 9.75 inches 6.4 x 30.5 x 24.8 cm RPe 22
View fullsize   Rafa Perez    Untitled  , 2011 Ceramic 5.5 x 8 x 8 inches 14 x 20.3 x 20.3 cm RPe 23
View fullsize   Rafa Perez    Untitled  , 2012 Porcelain, fired at 1150 degrees 23.62 x 14.17 x 11.02 inches 60 x 36 x 28 cm RPe 26
View fullsize   Rafa Perez    Untitled  , 2015 Steel mesh, porcelain, and clay fired at 1160 degrees 17.5 x 10 x 6 inches 44.5 x 25.4 x 15.2 cm RPe 49
View fullsize   Jon Serl    Pornography  , n.d. Oil on cardboard 24 x 40 inches 61 x 101.6 cm SJ 78
View fullsize   Jon Serl    Tall Harmony  , n.d. Oil on board 42.5 x 18.5 inches 108 x 47 cm SJ 111
View fullsize   Jon Serl    Procession  , n.d. Oil on canvas 33 x 20 inches 83.8 x 50.8 cm SJ 492
View fullsize   Jon Serl    Behind The Game  , 1988 Oil on canvas 38 x 24 inches 96.5 x 61 cm SJ 497
View fullsize   Jon Serl    Five Nuns   Oil on board 31 x 48 inches 78.7 x 121.9 cm SJ 498
View fullsize   Jon Serl    Venice Carnival  , 1958 Oil on board 20.45 x 20.75 inches 51.9 x 52.7 cm ST 51
View fullsize   Tony Pedemonte    Untitled  , 2015 Fiber and wood 19 x 16 x 9 inches 48.3 x 40.6 x 22.9 cm TPed 13
View fullsize   Tony Pedemonte    Untitled  , 2012 Fiber and wood 9 x 24 x 17 inches 22.9 x 61 x 43.2 cm TPed 16
View fullsize   Tony Pedemonte    Untitled  , 2012 Fiber and wood 10 x 6.5 x 24 inches 25.4 x 16.5 x 61 cm TPed 17
View fullsize   Tony Pedemonte    Untitled  , 2014 Fiber and wood 8 x 12 x 23 inches 20.3 x 30.5 x 58.4 cm TPed 20
View fullsize   Tony Pedemonte    Untitled  , 2011 Fiber and wood 19 x 21 x 34 inches 48.3 x 53.3 x 86.4 cm TPed 22
View fullsize   Tony Pedemonte    Untitled  , 2016 Fiber and wood 9 x 22 x 28 inches 22.9 x 55.9 x 71.1 cm TPed 23
View fullsize   Tim Rowan    Untitled  , n.d. Woodfired ceramic 8 x 7.5 x 9 inches 20.3 x 19.1 x 22.9 cm TR 118
View fullsize   Tim Rowan    Untitled  , 2015 Ceramic 18 x 4.25 x 4.25 inches 45.7 x 10.8 x 10.8 cm TR 158
View fullsize   Tim Rowan    Untitled  , 2015 Ceramic 17 x 4 x 4 inches 43.2 x 10.2 x 10.2 cm TR 159

CAVIN-MORRIS SUMMER SPOTLIGHT

(JUNE 30 - AUGUST 19, 2016)

Cavin-Morris Gallery is pleased to present the first in a series of bi-annual exhibitions spotlighting some of the artists represented by the gallery.  Each artist will be exhibited on his or her own wall or separate section of floor space.  This summer we are featuring Jon Serl, Gregory Van Maanen, J.B. Murray, and Joseph Lambert for the walls, and Melanie Ferguson, Rafa Perez, Tony Pedemonte and Tim Rowan on the floor.

These are artists we have been privileged to work with during all phases of the gallery's history.  Jon Serl and Gregory Van Maanen are two of the artists we have worked with the longest, and Melanie Ferguson, Joseph Lambert, and Tony Pedemonte are some of the most recent artists to join us.

Jon Serl lived to be one of the oldest self-taught artists in America, working until he was 98 years old.  His work is a poetic document of LGBT life in this country between the World Wars.  He was a carnival performer and a chuck wagon chef, and started painting in the late 40s.   His work is known for the way he reveled in the sheer glory of drawing with paint.  

Gregory Van Maanen's visionary work is about the transformation of violent energy into the process of making edgy art about healing and forgiveness without sentimentality.  His images are clean and tough and otherworldly.  A large number of his early paintings and sculptures can be seen in the permanent collection of John Michael Kohler Arts Center, Sheboygan, WI.

Master artist J.B. Murray was an African-American visionary whose work spoke to the trials and tribulations of his poor community, and to saving the souls of all black people.  He wrote in asemic calligraphy—invented writing-- that came through his hands from the Holy Spirit.  He considered much of his work to be amuletic in purpose and power. 

Joseph Lambert creates topographies of language.  His spiraling marks are his attempts to express himself to the world to counteract his inability or reluctance to communicate verbally.  They convey a visual expression of synesthesia, a state where different sensory perceptions combine; in this case sound or speech, sight or color and line.

Tony Pedemonte takes the process of wrapping to a personal and viscerally expressive place.  His process is different than that of Judith Scott, who worked before Pedemonte at Creative Growth in Oakland.  Both have created enigmatic sculptures passionately wrapped in layers of materials.  Pedemonte chooses fewer colors of threads to wrap these personally chosen, and frequently hand-assembled objects. In comparison to Scott, his work is more minimal, while still maintaining a totemic quality. 

For our ceramics selection we chose three wonderful artists as different from each other in intention and result as could possibly be.  There is an almost occult spirituality in the beautifully surfaced sculptures of Melanie Ferguson (Georgia, USA).  She captures aspects of place and landscape in the skins of her pieces and yet has imbued them with a sense of lunar and tidal timelessness. 

Rafa Perez (Spain) has a seemingly unlimited vocabulary of imagination in his never-repeating variations on solid organic asymmetrical forms.  He is a master of his materials and his restlessness has resulted in a body of work that is ongoing and ever-pushing his own envelope.

Tim Rowan (New York, USA) also carries an intense sense of place in his pieces coupled with a hint of Japanese sensibility, which he took away from his apprenticeship with Ryuichi Kakurezaki. Yet, rather than a sense of impermanence, his work carries a graceful earthy sense of monumental permanence, a presence that doesn't disappear even when those monuments are in ruins.

For further information please contact Cavin-Morris Gallery at info@cavinmorris.com, or phone: 212-226-3768.

Friday 07.01.16
Posted by caroline casey
 

Cavin-Morris Summer Spotlight

Gregory Van Maanen, Spirit Hand, 1993, Oil, enamel, acrylic on wood, 66 x 48 inches, 167.6 x 121.9 cm, GVM 754

Gregory Van Maanen, Spirit Hand, 1993, Oil, enamel, acrylic on wood, 66 x 48 inches, 167.6 x 121.9 cm, GVM 754

CAVIN-MORRIS SUMMER SPOTLIGHT 

(JUNE 30 - AUGUST 19, 2016)

Cavin-Morris Gallery is pleased to present the first in a series of bi-annual exhibitions spotlighting some of the artists represented by the gallery.  Each artist will be exhibited on his or her own wall or separate section of floor space.  This summer we are featuring Jon Serl, Gregory Van Maanen, J.B. Murray, and Joseph Lambert for the walls, and Melanie Ferguson, Rafa Perez, Tony Pedemonte and Tim Rowan on the floor.

These are artists we have been privileged to work with during all phases of the gallery's history.  Jon Serl and Gregory Van Maanen are two of the artists we have worked with the longest, and Melanie Ferguson, Joseph Lambert, and Tony Pedemonte are some of the most recent artists to join us.

Jon Serl lived to be one of the oldest self-taught artists in America, working until he was 98 years old.  His work is a poetic document of LGBT life in this country between the World Wars.  He was a carnival performer and a chuck wagon chef, and started painting in the late 40s.   His work is known for the way he reveled in the sheer glory of drawing with paint.  

Gregory Van Maanen's visionary work is about the transformation of violent energy into the process of making edgy art about healing and forgiveness without sentimentality.  His images are clean and tough and otherworldly.  A large number of his early paintings and sculptures can be seen in the permanent collection of John Michael Kohler Arts Center, Sheboygan, WI.

Master artist J.B. Murray was an African-American visionary whose work spoke to the trials and tribulations of his poor community, and to saving the souls of all black people.  He wrote in asemic calligraphy—invented writing-- that came through his hands from the Holy Spirit.  He considered much of his work to be amuletic in purpose and power. 

Joseph Lambert creates topographies of language.  His spiraling marks are his attempts to express himself to the world to counteract his inability or reluctance to communicate verbally.  They convey a visual expression of synesthesia, a state where different sensory perceptions combine; in this case sound or speech, sight or color and line.

Tony Pedemonte takes the process of wrapping to a personal and viscerally expressive place.  His process is different than that of Judith Scott, who worked before Pedemonte at Creative Growth in San Francisco.  Both have created enigmatic sculptures passionately wrapped in layers of materials.  Pedemonte chooses fewer colors of threads to wrap these personally chosen, and frequently hand-assembled objects. In comparison to Scott, his work is more minimal, while still maintaining a totemic quality. 

For our ceramics selection we chose three wonderful artists as different from each other in intention and result as could possibly be.  There is an almost occult spirituality in the beautifully surfaced sculptures of Melanie Ferguson (Georgia, USA).  She captures aspects of place and landscape in the skins of her pieces and yet has imbued them with a sense of lunar and tidal timelessness. 

Rafa Perez (Spain) has a seemingly unlimited vocabulary of imagination in his never-repeating variations on solid organic asymmetrical forms.  He is a master of his materials and his restlessness has resulted in a body of work that is ongoing and ever-pushing his own envelope.

Tim Rowan (New York, USA) also carries an intense sense of place in his pieces coupled with a hint of Japanese sensibility, which he took away from his apprenticeship with Ryuichi Kakurezaki. Yet, rather than a sense of impermanence, his work carries a graceful earthy sense of monumental permanence, a presence that doesn't disappear even when those monuments are in ruins.

For further information please contact Cavin-Morris Gallery at info@cavinmorris.com, or phone: 212-226-3768.

Saturday 06.25.16
Posted by caroline casey
 

Secular Mystic: M’onma Returns to New York

Read full article here: http://brutforce.com/secular-mystic-monma-returns-new-york/

Friday 06.03.16
Posted by caroline casey
 

M'onma: Trance Pilgrimage Online Catalog

Click here to view the catalog:

Wednesday 06.01.16
Posted by caroline casey
 

Opening reception and Ikebana ceremony

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Special thanks to Mario Hirama, Akihiro Nikaido, Yuko Kimura, and M'onma.

Friday 05.20.16
Posted by caroline casey
 

Opening Reception: Thursday, May 19th, 6-8pm

Saturday 05.14.16
Posted by caroline casey
 

Capture the Flag

Check out this great article by John Foster about Asafo Flags!

http://designobserver.com/feature/capture-the-flag/39301/

AfricaAsafo Flag - Fante People - Ghana, Pre 1957Cotton fabric with felt38 x 49.5 inches96.5 x 125.7 cmAF 365

Africa
Asafo Flag - Fante People - Ghana, Pre 1957
Cotton fabric with felt
38 x 49.5 inches
96.5 x 125.7 cm
AF 365

Friday 05.13.16
Posted by caroline casey
 

Faceshifting II Catalog now available on ISSUU

Click here to view the catalog

Thursday 05.12.16
Posted by caroline casey
 

CEREMONIES: AKIHIRO NIKAIDO & YUKO KIMURA

Yuko Kimura, Little Wave III, Monotype on kozo (mulberry) handmade paper, kozo bark fiber, thread, collage, 13 x 40 inches, 33 x 101.6 cm, YuK 38

Yuko Kimura, Little Wave III, Monotype on kozo (mulberry) handmade paper, kozo bark fiber, thread, collage, 13 x 40 inches, 33 x 101.6 cm, YuK 38

CEREMONIES: AKIHIRO NIKAIDO & YUKO KIMURA

(May 19 – June 18, 2016)

Cavin-Morris Gallery is pleased and privileged to present the artwork of Akihiro Nikaido and Margaret Yuko Kimura.  Both artists display a concept known in Japan as Yugen; the ability to suggest, rather than bluntly display.  This is an essential aesthetic of delicacy and at the same time, of mystery.  Another way to think of this is to consider the minimum an artist needs to depict in order to infer and intimate so much more.  It is a complete immersion into a quintessential moment, such as watching a magnificent bird disappear on the horizon or the sun burnishing a hillside with brilliant gold in the instant before it disappears.  The concept of Yugen illuminates the brief efflorescence of cherry trees blooming and disappearing as a metaphor for the transience of life itself. 

Nikaido’s ceramics never lose their maker’s fascination and love for the physical richness of the clay.  The surfaces seem powdery and ephemeral, and the shapes are simultaneously ancient and modern, giving them a restless, almost metaphysical, strength.  One can easily see this quality transferred to the pieces he makes for the tea ceremony.

Yuko Kimura works intuitively, playing with the edges of time and beauty as moving elements.  Her recent efforts incorporates multiple processes including etching, aquatint, dyeing with indigo or persimmon on pleated or twisted paper (paper threads). Most of the work utilizes Kozo bark fiber, old worm eaten book pages from Japan and imperfect handmade papers that are made from Kozo (mulberry) and abaca. Transparency and texture take priority as she constructs her two-or-three dimensional patchwork experiments. Whether she coils them into seemingly ephemeral sculpture, rolls them into miniature scrolls, or presents them flat and mounted, they hold an exquisite tension of the ineluctable inevitability of ages passing, perfectly manifesting Yugen.

On May 19th, 2016, opening night at 7:00 ikebana Master Mario Hirama, who has worked with Nikaido many times, will perform a flower ceremony using one of Nikaido’s clay vases.

Akihiro Nikaido, Bowl, 2016, Ceramic, 12 x 20 x 20 inches, 30.5 x 50.8 x 50.8 cm, ANk 28

Akihiro Nikaido, Bowl, 2016, Ceramic, 12 x 20 x 20 inches, 30.5 x 50.8 x 50.8 cm, ANk 28

Tuesday 05.03.16
Posted by caroline casey
 

M'ONMA: TRANCE PILGRIMAGE

M'onma, Untitled, 2004, Color pencil on paper, 27.56 x 17.6 inches, 70 x 44.7 cm, IMo 63

M'onma, Untitled, 2004, Color pencil on paper, 27.56 x 17.6 inches, 70 x 44.7 cm, IMo 63

M’ONMA: TRANCE PILGRIMAGE 

MAY 12 - JUNE 18, 2016

Cavin-Morris Gallery is pleased to announce the second solo exhibition of Japanese visionary artist, M’onma, entitled: M’onma: Trance Pilgrimage.

Looking for a cohesive narrative in one of M'onma's drawings is like telling someone about a dream and then realizing that you are losing and changing the thread of the experience as you tell it.... The further you get into the telling, the further you travel from the original memory. It is a lot like a novel or short story by Japanese novelist Haruki Murakami. Murakami allows himself to abandon concepts of rational sequence when he writes. In a way this brings one back to Surrealist concepts of automatic writing and allowing dream to occupy equal ground with temporal realities. One moves through the narrative without necessarily putting the pieces together. Add a healthy dose of Shinto and contemporary spiritual symbolisms and you begin to get an inkling into the dream world of M'onma.

M'onma drew all of his life, but was never satisfied with what he made.  One day when he was in his twenties, he was in a drawing studio and something happened.  He felt his entire body begin to glow to the point he could no longer see what was around him.  Something guided his hand.  The result was entirely different than anything he had drawn before.  It was an overwhelming and life-changing experience. He quit his job and went into the countryside, often in the mountains of Hokkaido, and sometimes to temples where he could draw in solitude.  If he needed money he would return to an urban center, get a job, and earn enough so that he could leave again for the mountains.

Twenty years passed before what M’onma calls the “entity” visited him again. This time M’onma was ready to acquiesce to whatever was being communicated through his hand.  He was channeling something, he wasn't and still isn't quite sure what it was.  He drew for decades not allowing anyone to see his drawings, not even those who lived near him.  Living in the mountains had taught him patience and the solitary space of the artist.

M'onma is unreservedly visionary, he is not mainstream, he is not a deliberate part of the canon of the art world. His style emerged as a part of an alternative process of art making that is closer to a séance than a dialogue with art history. His style is fully developed and mature. He worked in solitude for nearly forty years before agreeing to show his art to the world. This is his second solo exhibition.

There are layers upon layers of atmospheres inked and drawn into these pictures. One get so caught up in the figures it is easy to overlook the consummate skill of their executions - the smooth manipulation of process into a seamless whole. The graphite and ink works are as intricate as the ones done in colored pencil. One cannot help but see after that various types of beings populate these enigmatic drawings. There are the ambivalent clown-like figures that float in the foreground yet who project no specific evil; there are the more benevolent Buddha, or deity-like figures; there are the half man, half animal figures and there are humans who seem to be caught up in the dream machinations of the overall vision.

M'onma is unique, not only to Japan but internationally. He emerged fully-formed and unexpectedly. Cavin-Morris is thrilled to share his work once again in Trance Pilgrimage.

For further information please contact Cavin-Morris Gallery at info@cavinmorris.com, or phone: 212-226-3768.

Friday 04.29.16
Posted by caroline casey
 

Watch these incredible videos of ceramicist Rafa Perez's process

Thursday 04.14.16
Posted by caroline casey
 

Entities Online Catalog Available Now!

Click here to view:

Wednesday 04.13.16
Posted by caroline casey
 

FACESHIFTING II: Animistic Masks from the Himalayas

  Masks    Arunachal Pradesh - India/Bhutan - Monpa - Mask  , 19th C. Stained wood 9 x 7 x 4.5 inches 22.9 x 17.8 x 11.4 cm M 50s

Masks
Arunachal Pradesh - India/Bhutan - Monpa - Mask, 19th C.
Stained wood
9 x 7 x 4.5 inches
22.9 x 17.8 x 11.4 cm
M 50s

  Masks    Arunachal Pradesh - India/Bhutan - Monpa-Apa Mask  , 19th C. Stained wood 10 x 8 x 5 inches 25.4 x 20.3 x 12.7 cm M 69s

Masks
Arunachal Pradesh - India/Bhutan - Monpa-Apa Mask, 19th C.
Stained wood
10 x 8 x 5 inches
25.4 x 20.3 x 12.7 cm
M 69s

  Masks    Arunachal Pradesh - India/Bhutan - Monpa-Apa Mask  , Early 20th C. Wood 8 x 6.25 x 4.25 inches 20.3 x 15.9 x 10.8 cm M 82s

Masks
Arunachal Pradesh - India/Bhutan - Monpa-Apa Mask, Early 20th C.
Wood
8 x 6.25 x 4.25 inches
20.3 x 15.9 x 10.8 cm
M 82s

  Masks    Nepal - West Nepal  , Early 20th C. Wood with black paint 12 x 6 x 3.5 inches 30.5 x 15.2 x 8.9 cm M 107s

Masks
Nepal - West Nepal, Early 20th C.
Wood with black paint
12 x 6 x 3.5 inches
30.5 x 15.2 x 8.9 cm
M 107s

  Masks    Nepal - Transformation Mask  , Early 20th C. Wood 10 x 7 x 3.5 inches 25.4 x 17.8 x 8.9 cm M 108s

Masks
Nepal - Transformation Mask, Early 20th C.
Wood
10 x 7 x 3.5 inches
25.4 x 17.8 x 8.9 cm
M 108s

  Masks    Himachal Pradesh, India  , Early 20th C. Wood 11 x 7 x 4.5 inches 27.9 x 17.8 x 11.4 cm M 156

Masks
Himachal Pradesh, India, Early 20th C.
Wood
11 x 7 x 4.5 inches
27.9 x 17.8 x 11.4 cm
M 156

  Masks    Nepal  , 19th C. Wood, hair 10 x 8 x 4 inches 25.4 x 20.3 x 10.2 cm M 162s

Masks
Nepal, 19th C.
Wood, hair
10 x 8 x 4 inches
25.4 x 20.3 x 10.2 cm
M 162s

  Masks    Nepal  , 19th C. Wood M 170 & 171 S   

Masks
Nepal, 19th C.
Wood
M 170 & 171 S

 

  Masks    Himachal Pradesh, India  , Early 20th C. Wood 12 x 7.25 x 6 inches 30.5 x 18.4 x 15.2 cm M 175s

Masks
Himachal Pradesh, India, Early 20th C.
Wood
12 x 7.25 x 6 inches
30.5 x 18.4 x 15.2 cm
M 175s

  Masks    Nepal  , circa 19th C. Wood 9 x 6.5 x 4 inches 22.9 x 16.5 x 10.2 cm M 193s

Masks
Nepal, circa 19th C.
Wood
9 x 6.5 x 4 inches
22.9 x 16.5 x 10.2 cm
M 193s

  Masks    Nepal  , circa 19th C. Wood 10 x 7.5 x 3 inches 25.4 x 19.1 x 7.6 cm M 194s

Masks
Nepal, circa 19th C.
Wood
10 x 7.5 x 3 inches
25.4 x 19.1 x 7.6 cm
M 194s

  Masks    Nepal  , circa 19th C. Wood 12 x 7.5 x 3 inches 30.5 x 19.1 x 7.6 cm M 195s

Masks
Nepal, circa 19th C.
Wood
12 x 7.5 x 3 inches
30.5 x 19.1 x 7.6 cm
M 195s

  Masks    Nepal  , Early 20th C. Wood 11.5 x 10.4 x 5.5 inches 29.2 x 26.4 x 14 cm M 220s

Masks
Nepal, Early 20th C.
Wood
11.5 x 10.4 x 5.5 inches
29.2 x 26.4 x 14 cm
M 220s

  Masks    Himachal Pradesh, India  , Early 20th C. Wood 12.5 x 9 x 4 inches 31.8 x 22.9 x 10.2 cm M 221s

Masks
Himachal Pradesh, India, Early 20th C.
Wood
12.5 x 9 x 4 inches
31.8 x 22.9 x 10.2 cm
M 221s

  Masks    Nepal  , Late 19th or early 20th C. Wood 10 x 5.5 x 3 inches 25.4 x 14 x 7.6 cm M 222s

Masks
Nepal, Late 19th or early 20th C.
Wood
10 x 5.5 x 3 inches
25.4 x 14 x 7.6 cm
M 222s

  Masks    Nepal  , Early 20th C. Wood, metal 9 x 5.5 x 6.5 inches 22.9 x 14 x 16.5 cm M 223s

Masks
Nepal, Early 20th C.
Wood, metal
9 x 5.5 x 6.5 inches
22.9 x 14 x 16.5 cm
M 223s

  Masks    Nepal  , Early 20th C. Wood 11.75 x 5.75 x 3 inches 29.8 x 14.6 x 7.6 cm M 224s

Masks
Nepal, Early 20th C.
Wood
11.75 x 5.75 x 3 inches
29.8 x 14.6 x 7.6 cm
M 224s

  Masks    Nepal  , Early 20th C. Wood 10.5 x 6 x 4 inches 26.7 x 15.2 x 10.2 cm M 225s

Masks
Nepal, Early 20th C.
Wood
10.5 x 6 x 4 inches
26.7 x 15.2 x 10.2 cm
M 225s

  Nepal    West Nepal  , Early 20th c. Wood 28.5 x 7 x 5.5 inches 72.4 x 17.8 x 14 cm Nep 35

Nepal
West Nepal, Early 20th c.
Wood
28.5 x 7 x 5.5 inches
72.4 x 17.8 x 14 cm
Nep 35

  Nepal    Drum  , Mid 20th C. Wood, skin, leather, paint 21 x 10.5 x 3.5 inches 53.3 x 26.7 x 8.9 cm Nep 39

Nepal
Drum, Mid 20th C.
Wood, skin, leather, paint
21 x 10.5 x 3.5 inches
53.3 x 26.7 x 8.9 cm
Nep 39

  Nepal    Drum  , Mid 20th C. Wood, skin, leather 27.5 x 14.5 x 5 inches 69.9 x 36.8 x 12.7 cm Nep 40   

Nepal
Drum, Mid 20th C.
Wood, skin, leather
27.5 x 14.5 x 5 inches
69.9 x 36.8 x 12.7 cm
Nep 40

 

  Nepal    Nepal  , Mid. 20th c. Copper 25 x 8 x 8 inches 63.5 x 20.3 x 20.3 cm Nep 49

Nepal
Nepal, Mid. 20th c.
Copper
25 x 8 x 8 inches
63.5 x 20.3 x 20.3 cm
Nep 49

  Nepal    West Nepal Votive Figure  , mid. 20th c. Wood 17.5 x 5 x 4 inches 44.5 x 12.7 x 10.2 cm Nep 53

Nepal
West Nepal Votive Figure, mid. 20th c.
Wood
17.5 x 5 x 4 inches
44.5 x 12.7 x 10.2 cm
Nep 53

  Nepal    Seated figure  , n.d. Wood 16 x 7 x 5.25 inches 40.6 x 17.8 x 13.3 cm Nep 56

Nepal
Seated figure, n.d.
Wood
16 x 7 x 5.25 inches
40.6 x 17.8 x 13.3 cm
Nep 56

  Nepal    Drummer  , n.d. Wood 20 x 6.5 x 7 inches 50.8 x 16.5 x 17.8 cm Nep 57

Nepal
Drummer, n.d.
Wood
20 x 6.5 x 7 inches
50.8 x 16.5 x 17.8 cm
Nep 57

  Nepal    Shrine Figure  , Early 20th C. Wood 16.5 x 9 x 5 inches 41.9 x 22.9 x 12.7 cm Nep 59

Nepal
Shrine Figure, Early 20th C.
Wood
16.5 x 9 x 5 inches
41.9 x 22.9 x 12.7 cm
Nep 59

  Masks    Arunachal Pradesh - India/Bhutan - Monpa - Mask  , 19th C. Stained wood 9 x 7 x 4.5 inches 22.9 x 17.8 x 11.4 cm M 50s   Masks    Arunachal Pradesh - India/Bhutan - Monpa-Apa Mask  , 19th C. Stained wood 10 x 8 x 5 inches 25.4 x 20.3 x 12.7 cm M 69s   Masks    Arunachal Pradesh - India/Bhutan - Monpa-Apa Mask  , Early 20th C. Wood 8 x 6.25 x 4.25 inches 20.3 x 15.9 x 10.8 cm M 82s   Masks    Nepal - West Nepal  , Early 20th C. Wood with black paint 12 x 6 x 3.5 inches 30.5 x 15.2 x 8.9 cm M 107s   Masks    Nepal - Transformation Mask  , Early 20th C. Wood 10 x 7 x 3.5 inches 25.4 x 17.8 x 8.9 cm M 108s   Masks    Himachal Pradesh, India  , Early 20th C. Wood 11 x 7 x 4.5 inches 27.9 x 17.8 x 11.4 cm M 156   Masks    Nepal  , 19th C. Wood, hair 10 x 8 x 4 inches 25.4 x 20.3 x 10.2 cm M 162s   Masks    Nepal  , 19th C. Wood M 170 & 171 S      Masks    Himachal Pradesh, India  , Early 20th C. Wood 12 x 7.25 x 6 inches 30.5 x 18.4 x 15.2 cm M 175s   Masks    Nepal  , circa 19th C. Wood 9 x 6.5 x 4 inches 22.9 x 16.5 x 10.2 cm M 193s   Masks    Nepal  , circa 19th C. Wood 10 x 7.5 x 3 inches 25.4 x 19.1 x 7.6 cm M 194s   Masks    Nepal  , circa 19th C. Wood 12 x 7.5 x 3 inches 30.5 x 19.1 x 7.6 cm M 195s   Masks    Nepal  , Early 20th C. Wood 11.5 x 10.4 x 5.5 inches 29.2 x 26.4 x 14 cm M 220s   Masks    Himachal Pradesh, India  , Early 20th C. Wood 12.5 x 9 x 4 inches 31.8 x 22.9 x 10.2 cm M 221s   Masks    Nepal  , Late 19th or early 20th C. Wood 10 x 5.5 x 3 inches 25.4 x 14 x 7.6 cm M 222s   Masks    Nepal  , Early 20th C. Wood, metal 9 x 5.5 x 6.5 inches 22.9 x 14 x 16.5 cm M 223s   Masks    Nepal  , Early 20th C. Wood 11.75 x 5.75 x 3 inches 29.8 x 14.6 x 7.6 cm M 224s   Masks    Nepal  , Early 20th C. Wood 10.5 x 6 x 4 inches 26.7 x 15.2 x 10.2 cm M 225s   Nepal    West Nepal  , Early 20th c. Wood 28.5 x 7 x 5.5 inches 72.4 x 17.8 x 14 cm Nep 35   Nepal    Drum  , Mid 20th C. Wood, skin, leather, paint 21 x 10.5 x 3.5 inches 53.3 x 26.7 x 8.9 cm Nep 39   Nepal    Drum  , Mid 20th C. Wood, skin, leather 27.5 x 14.5 x 5 inches 69.9 x 36.8 x 12.7 cm Nep 40      Nepal    Nepal  , Mid. 20th c. Copper 25 x 8 x 8 inches 63.5 x 20.3 x 20.3 cm Nep 49   Nepal    West Nepal Votive Figure  , mid. 20th c. Wood 17.5 x 5 x 4 inches 44.5 x 12.7 x 10.2 cm Nep 53   Nepal    Seated figure  , n.d. Wood 16 x 7 x 5.25 inches 40.6 x 17.8 x 13.3 cm Nep 56   Nepal    Drummer  , n.d. Wood 20 x 6.5 x 7 inches 50.8 x 16.5 x 17.8 cm Nep 57   Nepal    Shrine Figure  , Early 20th C. Wood 16.5 x 9 x 5 inches 41.9 x 22.9 x 12.7 cm Nep 59

FACESHIFTING II: Animistic Masks from the Himalayas

(March 31 - May 7, 2016)

 

Cavin-Morris Gallery is pleased to celebrate this year’s Tribal Art Week in New York City with an exhibition of non-classical masks and sculptures from Nepal, India, and Bhutan called FACESHIFTING II: Animistic Masks from the Himalayas.

Our first Faceshifting exhibition in 2014 featured masks from all over the world.  FACESHIFTING II focuses on a masking phenomenon that is under-documented (especially in English), yet is incredibly rich and varied.  There is almost an art brut quality to the masks, as each is most often carved by the user creatively within very broad guidelines.  The masks, although still actively danced today, have ancient origins in animist and shamanic traditions that were in place before Hindu and Buddhist beliefs became the ‘classic’ religions of the area.  Unfortunately, scholars have paid more attention to the ‘classic’ masks than to these so-called ‘primitive’ examples.

The Himalayas have long been a site of mixed spiritualities.  The animist sensibilities came from an intense relationship with the vagaries of Nature; the weather, agricultural cycles, health and disease etc.  Each mask reads as a journal of this survival and the intensities of those beliefs; some are not danced but have an ancestral presence, hung in homes over doorways or placed by the hearth for amuletic purposes for home and family.

The characters are archetypal including sacred clowns or tricksters, wild men of the bush, goddesses, priests and demons, and wise old men.  The masks are stark and often expressively powerful in their minimal charged lines, with deep patination of ash, and other sacrificial materials.

It has taken several years to bring together the pieces for this exhibition.   We are pleased to present this rarely seen art form only now beginning to attract the recognition it deserves in this country.

For further information please contact Cavin-Morris Gallery at info@cavinmorris.com, or phone: 212-226-3768.

 

Wednesday 04.06.16
Posted by caroline casey
 

Lou Beach received Pollock-Krasner Grant

Cavin-Morris is pleased to announce that our artist Lou Beach is the recipient of the 2016 Pollock-Krasner Grant! Congratulations

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Friday 04.01.16
Posted by caroline casey
 

ENTITIES: TOMÁŠ LAMPAR & JOSEFA ŠTEPÁNKOVÁ (March 31 - May 7, 2016)

  Tomáš Lampar    Untitled  , 2002 Color pencil on paper 16.54 x 11.61 inches 42 x 29.5 cm TLa 7

Tomáš Lampar
Untitled, 2002
Color pencil on paper
16.54 x 11.61 inches
42 x 29.5 cm
TLa 7

  Josefa Štěpánková    Untitled  , 1920s Pencil on paper 11.81 x 17.32 inches 30 x 44 cm JoSt 6

Josefa Štěpánková
Untitled, 1920s
Pencil on paper
11.81 x 17.32 inches
30 x 44 cm
JoSt 6

  Tomáš Lampar    Untitled  , 2001 China ink on paper 16.54 x 11.61 inches 42 x 29.5 cm TLa 1

Tomáš Lampar
Untitled, 2001
China ink on paper
16.54 x 11.61 inches
42 x 29.5 cm
TLa 1

  Tomáš Lampar    Untitled  , 2002 Color pencil on paper 16.54 x 11.61 inches 42 x 29.5 cm TLa 10

Tomáš Lampar
Untitled, 2002
Color pencil on paper
16.54 x 11.61 inches
42 x 29.5 cm
TLa 10

  Tomáš Lampar    Untitled  , 1999 Watercolor on paper 11.81 x 16.54 inches 30 x 42 cm TLa 18

Tomáš Lampar
Untitled, 1999
Watercolor on paper
11.81 x 16.54 inches
30 x 42 cm
TLa 18

  Tomáš Lampar    Untitled  , 2015 Pastel on paper 11.69 x 16.54 inches 29.7 x 42 cm TLa 40

Tomáš Lampar
Untitled, 2015
Pastel on paper
11.69 x 16.54 inches
29.7 x 42 cm
TLa 40

  Tomáš Lampar    Untitled  , 1999 Watercolor on paper 11.81 x 16.54 inches 30 x 42 cm TLa 19

Tomáš Lampar
Untitled, 1999
Watercolor on paper
11.81 x 16.54 inches
30 x 42 cm
TLa 19

  Josefa Štěpánková    Untitled  , 1920s Pencil on paper 11.81 x 17.32 inches 30 x 44 cm JoSt 5

Josefa Štěpánková
Untitled, 1920s
Pencil on paper
11.81 x 17.32 inches
30 x 44 cm
JoSt 5

  Tomáš Lampar    Untitled  , 2002 Color pencil on paper 16.54 x 11.61 inches 42 x 29.5 cm TLa 7   Josefa Štěpánková    Untitled  , 1920s Pencil on paper 11.81 x 17.32 inches 30 x 44 cm JoSt 6   Tomáš Lampar    Untitled  , 2001 China ink on paper 16.54 x 11.61 inches 42 x 29.5 cm TLa 1   Tomáš Lampar    Untitled  , 2002 Color pencil on paper 16.54 x 11.61 inches 42 x 29.5 cm TLa 10   Tomáš Lampar    Untitled  , 1999 Watercolor on paper 11.81 x 16.54 inches 30 x 42 cm TLa 18   Tomáš Lampar    Untitled  , 2015 Pastel on paper 11.69 x 16.54 inches 29.7 x 42 cm TLa 40   Tomáš Lampar    Untitled  , 1999 Watercolor on paper 11.81 x 16.54 inches 30 x 42 cm TLa 19   Josefa Štěpánková    Untitled  , 1920s Pencil on paper 11.81 x 17.32 inches 30 x 44 cm JoSt 5

ENTITIES: TOMÁŠ LAMPAR & JOSEFA ŠTEPÁNKOVÁ
(March 31 - May 7, 2016)

Cavin-Morris Gallery is pleased to present the spiritualist and visionary work of architect Tomáš Lampar and his spiritualist great-grandmother Josefa Štěpánková.

Lampar's work comes from channeling entities from an undefined alternate state of reality or dimension.  His great-grandmother’s work comes from the channeling of people she lost in the course of her life, especially family members with whom she spiritually connected.  There is a floral presence in her work that was common to many of the Bohemian and Moravian spiritualists in the late 19th and early part of the 20th Century.  Lampar's drawings also resonate with a botanical presence.

Here is what scholar Terezie Zemánková says about Lampar’s process in the catalog essay:  

It is the principle behind this botanical vision, where the flower is both the form and the symbol, which Tomáš Lampar shares with his great grandmother Josefa Štepánková. They share the same hypersensitivity, and the ability of “flow-ness”: a power to connect with the entities beyond senses. Their motives for creation differ, however. While the works of Lampar are almost independent from his personal and professional life, the spiritual drawings of Josefa Štepánková reflect her dramatic personal history. 

The two different approaches to visionary and spiritualistic imagery make this exhibition compelling.  Lampar's work is wild, like unexplained light phenomena in a night sky. His drawings constantly reinvent color in unexpected ways that only accidentally refer to Wassily Kandinsky and Annie Besant.  His process involves pulling new variations on what can be done with the innate qualities of the chalks, crayons, pastels and watercolors he uses.   Everything he draws is germane to these cross-dimensional entities.  Štěpánková's work is more in the language of her culture. 

Josefa Štepánková often placed small portraits of her deceased ones into her drawings, or images of their spiritual, amorphous bodies. The faces grow directly from flowers, which sometimes contain messages, declarations or legacies of a religious nature. The leaves and petals are finished with simple details, in keeping with the aesthetics of the 1920s (ornaments of folk art, art deco or echoes of art nouveau). 

In the end their messages meet in space, joined by art, fulfilling the function of a vehicle that allows communication between non-material modes of existence -- healing is the hoped for outcome.  In doing so each invents a personal yet universal language we can still understand.

We will publish an online catalog with an essay by art historian Terezie Zemánková

For further information please contact Cavin-Morris Gallery at info@cavinmorris.com, or phone: 212-226-3768.

Tuesday 03.29.16
Posted by caroline casey
 

Click here to view the online catalog for MAVERICK

Saturday 03.19.16
Posted by caroline casey
 

Gallery Walk-through with Curator Randall Morris

Wednesday 03.02.16
Posted by caroline casey
 

Maverick (February 18 - March 26)

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Tuesday 02.23.16
Posted by caroline casey
 

Wooden Ships in Chelsea: Kevin Sampson’s Unique Art Form

Click here to read the article:

http://brutforce.com/wooden-ships-in-chelsea/

Tuesday 02.16.16
Posted by caroline casey
 
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