Copy
View this email in your browser
thisisfair.org

COMMUNITY.   MUTUAL SUPPORT.   PROFIT SHARING.


NADA FAIR offers an alternative profit-sharing model, structured to facilitate mutual support within the art community and provide revenue to each of its participants during a time in which galleries have temporarily closed their physical locations. A percentage from each sale made from FAIR will directly benefit all participating galleries and artists. In addition, a percentage of each sale will go towards supporting NADA for their efforts in producing FAIR, their continued work as an organization for art galleries, through this time of crisis and beyond. NADA FAIR is online and open through June 21, 2020.

 

BARB SMITH- Untitled (Family)- Ceramic, bronze, extracted pencil eraser, bubble wand, stolen pool chalk, air dry clay, Aqua Resin, terracotta, mask making latex, cooking twine, baby powder- 16 x 8.75 x 2 inches, 0.64 x 22.225 x 5.08 cm
In Barb Smith's work Untitled (Family), compartments hold the organized elements of a story. A bubble wand and stolen pool chalk speak to play, to theft, to circles and deep pockets- to things passing through them at different, imagined velocities. Mask making latex coated in baby powder forms a thin skin over cooking twine, braided and bound like long hair just cut short, culminating in a sort of escape route out of the bottom of the work. The extracted pencil eraser points to writing, to language, to a body, to attempting to tell, and to being unable to undo. Tended cuts are everywhere in this work, from the process of slab building in clay to the circle of bronze sprues with blunted ends.

ODESSA STRAUB- Fostering Freedom of Filth (thong༄ƃuoɥʇ)- scaffolding wood, acrylic paint, deconstructed purse, leather, canvas, silk, brass chains, grow light, cast iron, nylon rope, glass vase, aquarium substrate, Plexiglas, plants, water- 90 x 40 x 30 inches, 228.6 x 101.6 x 76.2 cm- Photo: Pete Mauney
The fictionalized narratives of Straub's sculptures and paintings are pulled from personal history and cultural disquiet. In her work Fostering Freedom of Filth (thong༄ƃuoɥʇ), signifiers take physical form. Braced by a human-scale, open framework, a glass tank is filled with cultivated water and living plants. The tank, or heart of the piece, is run by a network of custom filters and tubes: an exposed bio system with the insides out. A flattened figure made of ribbed silk embodies a limp state of ease or apathy, relaxation or deflation. Erotic signifiers and material tactility highlight the libidinal continuum between sexuality and care in Straub's latest sculptural work.

SEPTEMBER exhibition press:
Artforum Critic's Pick
The Brooklyn Rail

Ashley Garrett- No Exit- oil on canvas- 48 x 49 inches, 121.92  x 124.46 cm

Garrett’s landscapes are not versions of landscapes; they are states of being made visually manifest through the suggestion of a natural space opening and closing. The movement of her brushwork imbues her compositions with liquid energy and freedom from stasis, or definition. Garrett writes, “There’s such a challenge in that continual flattening and deepening that rotates around us when we’re outside, and that’s what I’m interested in discovering through painting space. Not a literal depiction of land but a quality of feeling held by it as it spins around you in time and light.

Laleh Khorramian- The Keeper (Guard of the Inner Sanctum)- ink on silk- 92 x 58.5 x 1.5 inches- 233.68 x 148.59 x 3.81 cm

Khorramian’s hand-printed and painted imagery of her kimono works resemble constellations, secret codes, or blueprints for mechanical assemblages. Stretched on a dowel, the kimono appears totemic, larger than human life. Khorramian's practice incorporates the cosmological thinking of ancient cultures, their complex mythologies, and evocative spiritual vocabularies, with her imagined worlds, synthesizing them into “histories” that are both futuristic and ancient. In a vacillating process between macro and micro views, Khorramian integrates fiction with spectacle and theater to explore the transience of living matter and beings within cycles of depletion and plenitude.

SEPTEMBER exhibition press:
Hyperallergic
 

For further information please contact kristen@septembergallery.com 
Copyright © SEPTEMBER, All rights reserved.

Our mailing address is:
SEPTEMBER
449 WARREN STREET #3
HUDSON, NY 12534

KRISTEN@SEPTEMBERGALLERY.COM

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.