Exhibition
10/31/2017


POINTING FINGERS
curated by Jo-El Lopez

Julie Ann Nagle - Genesis Tramaine - Ken Weathersby

November 11 – January 12 2018
Reception November 11th 4-8pm @ Gallery Aferro
77 Market Street, Newark NJ

The three solo installations that combine to make up POINTING FINGERS utilize large display windows facing Market Street. Ken Weathersby's installation will be the first exhibition of all of his free-standing paintings together. It will also include one sculpture.

Exhibition
9/16/2017


COLORMANIA
Paul Corio - Robert Otto Epstein - Ken Weathersby
at Odetta Gallery

September 8 - October 15, 2017

Opening reception: Friday September 8, 6-8 pm
Artists Talk: Sunday September 17, 3:00 pm
Bushwick Open Studios September 22-24 

Odetta Gallery 229 Cook Street, Brooklyn, NY

SPRING/BREAK art show
2/27/2017


image: "230 (ncrybl)", detail

SPRING/BREAK Art Show
4 Times Square,
New York, New York

"INFINITY POOL"
room #2316
curated by Rebecca Morgan and Stephen Eakin

featuring work by Paul Bergeron, Paul Gagner, Heather Garland, Lawrence F Mesich, Bryan Rogers, Erik Schoonebeek, Ken Weathersby, and Robin Williams

TICKETS:
There is an opening on the evening of February 28th from 5-9pm . Tickets for that are $20 on springbreakartshow.com
Fair runs from March 1-6, hours are 11-6. Tickets on those days are $15 on springbreakartshow.com
 

Feature
2/16/2017


February 16, 2017

The editors of ARTnews:
Pictures at an Exhibition: KEN WEATHERSBY at MINUS SPACE

(link)


 

Review
1/29/2017


January 28, 2017

Review:
Ken Weathersby: ("Time After Time") From sculpture to painting
by  / TWO COATS OF PAINT
 
Installation
Ken Weathersby, “Time After Time” at Minus Space, installation view.

For his new series of elegant abstract paintings, on view at Minus Space through February 25, Ken Weathersby drew from seasoned images in old art history books. These books feature simple layouts, often two wide columns illustrated with black and white images. Over time, the paper on which they’ve been printed has darkened or yellowed. The paintings thus convey three distinct time frames: when the works in the images were actually made, when the images were captured in the books, and when the pictures were included in Weathersby’s paintings.

Ken Weathersby
Ken Weathersby, 261, 2016, acrylic & graphite on linen over panel, collage, 30 x 20 inches.

Weathersby selects images of statues and reliefs from Greek, Roman, and other ancient cultures, pastes them onto mid-sized painting supports, and then wraps the supports with linen-covered frames so that the images appear to be bordered by the surrounding material. The abstract paintings respond to the shapes, colors, sight lines, and textures of the small sculptures depicted in the inset images.

Ken Weathersby
Ken Weathersby, 260, 2016, acrylic & graphite on linen over panel, collage, 40 x 30 inches.

Weathersby’s sublime matte surfaces feature thinly applied paint and lightly-drawn geometric pencil lines. The compositions are resolutely two-dimensional, like the template grids of the old text books themselves, and each painting is titled with a number–presumably the original plate number of the collaged image.

Ken WeathersbyKen Weathersby, 258, 2016, acrylic on linen over panel, collage, 38 x 36 inches.

494
Ken Weathersby, 264, 2016, crylic on linen over panel, collage, 30 x 24 inches.

Weathersby seems to be reminding the viewer that abstract paintings may seem formalist, or, to some viewers, simply decorative, but they are in fact part of a larger timeline rooted in history, politics, and philosophy. With wit and charm, he fuses his interests in Modern graphic design, art history, and ancient sculpture. Weathersby makes erudition seem easy.

“Ken Weathersby: Time After Time” Minus Space, DUMBO, Brooklyn, NY. Through February 25, 2017

Exhibition
1/2/2017


Ken Weathersby: Time After Time

January 7 – February 25, 2017
Opening: Saturday, January 7, 6-8pm

MINUS SPACE is delighted to present Ken Weathersby: Time After Time, the New York artist’s first solo exhibition at the gallery. The exhibition will feature a suite of new reductive paintings embedded with images taken from art history books.

Ken Weathersby makes abstract paintings that play with and against the conventions of both painting and abstraction. His new paintings combine graphic geometric patterns with representational, printed images of art works cut out of discarded art history books. The images Weathersby employs often depict a sculpture of a single human or animal figure and stem primarily from the periods of ancient Greece, Rome, and medieval Europe.

Specific images are carefully selected and cropped, commonly leaving slivers of text from the originating books still visible. Weathersby then insets the images into recessed rectangular windows, which he cuts and constructs into the paintings’ surfaces. The position of the images within the paintings is carefully considered; images are either immersed into or juxtaposed against finely detailed patterns of repeating squares, circles, and triangles that are both painted in muted colors and drawn in pencil. The specific patterns Weathersby employs loosely reflect the character of the images themselves. Images fall both in and out of alignment with the patterns creating a heightened sense of solitude and timelessness.

About his new paintings, Weathersby states, “The collaged figures are both within the painting and outside of the presumed abstract visual event. They gesture and look, their directional gaze enacting something like a cinematic eye-line match. At other times they form morphological links with the abstract, painted elements while introducing things foreign to it: sculpture, photography, printing, and an earlier time.

MINUS SPACE
16 Main Street
Brooklyn, NY 11201 (Dumbo)
USA

Wednesday - Saturday 11am - 5pm
+ by appointment

718.801.8095
info@minusspace.com

Exhibition
10/21/2016


image: Ken Weathersby, "257 (twiggy)", 2016 (detail)

Honey Ramka presents Razerbilder, an exhibition featuring work by Lars van Dooren, Stephen Eakin, Kirsten Nelson, and Ken Weathersby. The exhibition opens Friday, October 21st from 6-9 PM, and runs through Sunday, November 27th.

“Human nature, essentially changeable, unstable as the dust, can endure no restraint; if it binds itself it soon begins to tear madly at its bonds, until it rends everything asunder, the wall, the bonds, and its very self.”
—Franz Kafka, 'The Great Wall of China'

“All the modern things/Have always existed/They’ve just been waiting/To come out/And multiply/And take over/It’s their turn now.”
—Björk, 'The Modern Things'

Undergirded by the language of carpentry and practical building, the works in Razerbilder are shot through with complexifying interventions—floor plans dissolve; constructions are hybridized, confounded, and filigreed with idiosyncratic codes. 

Whether ruins, relics, or building blocks, the works in Razerbilderevidence the uncanniness and volatility of the structures and objects that form our worlds.

Honey Ramka is an exhibition space in Bushwick, Brooklyn @ 56 Bogart Street (1st floor). The gallery is open from 1-6pm on Fridays, Saturdays, Sundays, and by appointment.

Gallery Directors: Jesse Patrick Martin and Bryan Rogers 
# # #

Exhibition
8/27/2016


Monuments in Reverse
Saturday, September 17 at 6 PM - 10 PM
245 Varet, 245 Varet St., Brooklyn, NY

Jon Cowan, Madora Frey, Charles Goldman, Erin O'Keefe,Sarah Tortora
Ken Weathersby

Curated by Jake Cartwright 

The selection of the six artists represented was intuitive but the artistic fore-bearer that emerged was Robert Smithson. The title Monuments in Reverse is interpreted from a series of mid sixties essays Smithson penned about his home state of New Jersey. Each essay is approached as a territorial expedition into the state with Smithson mining the land as a whole for raw material. It's apparent that Smithson takes particular pleasure in finding aesthetic inspiration wh
ere most would see industrial blight; a mode of thinking exemplified by "A Tour of the Monuments of Passaic, New Jersey" (1967). He applies a rascally kind of imaginative intellect to the industrial "monuments" and likens the landscape to "ruins in reverse". He is of course known as an artist whose practice took him outside of the traditional gallery confines but his influence was first evident in the inverse development: non-traditional materials, methods, and concepts being introduced into a gallery setting. He achieved this in large part by applying this style of imaginative intellect. Smithson made a different kind of art by thinking different kinds of thoughts, an approach epitomized by his idea of "Non-Sites” which he defined as “a three dimensional picture that is abstract, yet it represents an actual site...It is by this dimensional metaphor that one site can represent another site which does not resemble it”.
...
Ken Weathersby's work seems to owe it's structural sensibility in part to the early collecting tradition of the Wunderkammer, or cabinet of wonders. While the Wunderkammer shared the ambition of modern museums to create a taxonomy of knowledge they differed in that these earlier archives were most often personal collections in private homes. This meant that while they expressed a sense of the world's breadth they necessarily did so from a singular viewpoint. Weathersby undertakes his own subjective cataloging by nesting printed reproductions of art historical sculptures and other cultural quotations within his own paintings. The “cabinet” in these works is comprised of Weatherbys' unique hybridizing of both the standard supports of painting and the formal elements of geometric abstraction. Weathersby takes a particular interest in the "verso" side of his art objects which is evidenced in his cutaways of the picture plane. 

Weathersby's studio is in a former mid century furniture store in the faded downtown of Newark, NJ and traveling there evokes the NYC to NJ pilgrimages of Smithon's essays. To imagine Smithson and Donald Judd traveling the same ignoble turnpike in search of "the Triassic sedimentary rocks of the Newark series" is to bear witness to the power of creative intent. I suspect the idea of rock hunting appealed to Smithson in part because excavation involves the act of sifting through utterly common material with an eye for the secret knowledge within. The six artists represented in this show all exhibit an artistic capacity that I hold in the highest regard: the ability to employ materials as a form of thought. I called this metaphorical space at the outset which is something that is carved out when a creative work effectively enlarges the world by thinking it so.

Interview
4/4/2016

(originally published at notwhatitis.com, 4-4-16)

Tracy DiTolla: When did you first decide that you wanted to be an artist?  Was there a specific clarifying moment for you?
Ken Weathersby: In high school I was hanging around with people in rock bands. I was interested in drawing, writing and music, most excited by doing creative things. By my first year of college I was depressed and desperate because I didn’t have a sense of what to do with myself in the future. Becoming an artist wasn’t particularly visible as a path. I couldn’t see any path that interested me. In retrospect I understand that growing up in the south, in Mississippi, gave me limited exposure to cultural possibilities. At the University of Southern Mississippi I eventually took some studio classes from a professor who told me I had a “damn gift” for art. He also challenged me with an ultimatum: that I should either get serious about art (I was just drifting) or get the hell out of his class. That was a turning point. I didn’t get the hell out. Instead I got really involved with painting. After college I went on to graduate school for painting at Cranbrook in Detroit. After completing my MFA I moved back to Mississippi briefly, but after a couple of months I packed up and moved straight to New York City.
243
243 2015 acrylic & graphite on denim, collage 26 x 28 inches
TD: You often cut out or cover certain parts of images or of the canvas.  What leads to your decision to take things away and replace them with other images or materials or geometric designs?
KW: I want to make a thing that does something particular and specific in relation to your act of looking at it. The way the parts of the painting are arranged might deny you full access to what one would assume is made to be seen, like when the painted face of the canvas is hidden. Maybe a painting is foregrounding something that is normally just a non-visual support, like the wooden stretcher or staples. It could be transposing its parts in a way that presents like a puzzle, or messing up your perception of a pattern with slight displacements, like a grain of sand in an oyster. Generally each painting is doing something different. For a number of years, I was doing this in a visual language that was geometrical, abstract and material, but excluded representation. Occasionally I borrowed human shapes from sculptures or paintings from art history, but they would be barely recognizable as figures the way I used them, just contours filled in with painted pattern. More recently, though, I’ve been introducing collaged images into that situation. Usually they are photos of heads or figures from ancient sculpture. The presence of these entities speaks to the act of looking in different ways. They can become a kind of proxy for the viewer, reacting to some abstract thing within the painting which they connect to with their gaze. So they model or re-enact our encounter with the painting itself. Or sometimes they are bursting into the middle of an abstract painting, as if they had opened the wrong door by mistake. It’s another angle on the idea of an encounter. The through-line in all of it is looking at an unknown thing or situation and pointing to the space of not knowing.
256GirlSwimmer
256 (girl swimmer) 2016 acrylic & graphite on linen, collage 38 x 30 inches
TD: The painting, 256 (girl swimmer), seems to be a good example of your recent practice.  Can you talk a little about this piece?
KW: The two collage elements are photo illustrations that I found in old books. The one on the right is the image of a girl resting near the water and looking off toward the center of the painting, where there is an oval of abstract pattern painted in contrasting colors. Below the photo you can read part of the caption, which identifies her as a “girl diver”. I changed the description a little to “girl swimmer” in my title. On the opposite side of the painting, mirroring her position is a photo of a classical sculpture. Its head is missing, but the body is at the exact same scale and in the exact same posture as the girl. It is a mirror image of the girl, but it is a boy. It too would be looking toward the abstract form in the middle of the painting, but it lacks a head, and therefore can’t look.
255
255 2015 acrylic & graphite on linen, collage 21 x 27.5 inches
TD: What is the reason for the titles of all your works being numbered?
KW: I title them with numbers as a practical way of keeping track of them. It distinguishes them from one another and the numbers represent the order in which they were made, so I can know chronology.  I tend to avoid more evocative titles because I want to leave people’s responses more open-ended. I don’t want to over-direct interpretation, which, for better or worse, is up to the viewer. I sometimes add in a parenthetical title, if one emerges organically while I’m working. If I want to add one of these titles to the number on a piece, but think it would be too much, I will compromise by reducing that part to just initials, a kind of code.
TD: You have said your work is very concrete and is all about the physical aspect of it, but you often incorporate images from ancient and medieval art history into your pieces – are the choices of collaged images you include in your work based solely on aesthetics or does their original meaning and context play a role as well?
KW: Before, I was playing the physical against the optical. It was the material structure of the thing played against the abstract painted image. Now I’ve added in the images of human beings by way of these photographic reproductions of historical sculpture, taken from art history books. It’s a convention of the medium of painting historically to draw upon classical figures in composing a painting, as, for example, Manet did in composing “Le Dejeuner sur l’herbe”. I am using that convention but in a more blunt and contemporary way. Usually I pick these images based on what they are doing, their gestures or movements, and especially on how they seem to be casting their glance in a particular direction, and the nature of that glance. In cinema there is the basic mechanism of the eye-line match. A figure looking in a certain direction relative to the frame of the screen will make a strong connection in the viewer’s mind to the thing shown in the next shot, after a cut. I am working with cuts too. Cutting into the canvas surface literally, and also in the sense of putting things side by side that might seem to exist in different spaces and times. But the eye-line makes a connection. Since the particulars of the situation differ (each figure is different, each painted pattern is different and their placement in relation to each other is different) different implications emerge.
221
221 (derrière le miroir) 2014 acrylic & graphite on linen, wood, reversed mirror 30 x 24 inches
TD: The figurative, collaged elements in your work are, in part, to direct the gaze of the viewer – is it important to you to have some control over the viewer and how they look at your work?
KW: It’s not about controlling how they look at my work, but about going into something that isn’t always explicit in art. This is the situation and space of looking. When I first started painting, I was interested in op art, and my first paintings that worked were about optical effects, grids of calibrated color that were retinally active. That kind of painting throws the viewer back on their own acts of looking. They can become aware that what they see is tied to their own eye movements and other visual apparatus. That is stuff we are usually free to ignore when looking at other types of painting. It implicates us in the experience and ties us to the object in a conscious way. In addition to that, in my work now, I am placing different spatial dynamics side by side with the abstract and optical, and giving you the dissonance between them as something to experience. On one hand, there is a frontal space, where the grid or abstract geometric image is projecting out at you, and generally doing some of the stuff I mentioned above. That is happening in a perpendicular axis, between you and the painting. Opposing that is what I call a diagetic space, where the eye-line (or sometimes other elements) promotes a lateral reading within the space. That tends to create a slightly fictive or even narrative space while the other type of space is more iconic. In historic art there are precedents for this. For example, in a Duccio altarpiece, you have an iconic Madonna or whatever in the center staring out at you, confronting you as you confront her, while around the rest of the painting you have angels or other figures looking at each other or moving laterally through a depicted space. The two things co-exist but are contradictory and it provides a certain energy to the painting.
232
232 2014 canvas, wood, collage 30 x 24 inches
TD: You seem to have an interest in texture, what brought the change in your recent work – stark, white canvases from the black canvases with random brushstrokes, and the backward canvases and pieces with wood?
KW: I do like texture. I think of that now mostly in relation to how something is made, and that it is made by hand. I don’t go out of my way to produce a certain texture, but I allow my methods of putting things together, using wood, paint, linen, graphite, old photos on paper, etc. to show, and to have a level of roughness as well as a level of precision. The relationship of those two things co-existing (looseness and an idea of perfection) can be interesting. It’s not my main concern but it is part of how I work now. On a certain level, having little runs in the paint or visible layout lines of graphite, or spots of glue just gives the viewer something to see when looking at the work closely, a reason to zoom in. It gives clues to how things were made, but I’m not committed to an earnest idea of truth to my materials and processes either—sometimes I play with that situation to “lie” with the material structure, to let it look like it is put together in ways that it is not. That’s just more of what is happening in my work generally: playing around in various ways with the ambiguities of looking at a thing or situation.
TD: Being an artist myself I understand how frustrating it can be to try and combine “real life” with the time that is necessary to develop and create your own art.  How do you deal with that situation?
KW: I guess “real life” for one thing means making a living. I teach, and as much as I might enjoy just going to the studio all day every day (and I do really enjoy that at times), I get a lot of energy, ideas and satisfaction from teaching art students. Part of my teaching life includes directing an art gallery and curating shows, and that is also rewarding. As for other aspects of real life, for me it mostly connects back to my interests in art. My wife Michele Alpern is also an artist, and we go to films and music events as well as exhibitions. The friends and people I’m in touch with day to day are mostly involved in those same things. There are lots of things I don’t do, other possibilities that I sacrifice, and I am not complaining about that. In a way, I’m working on art all the time but I feel very lucky because it’s the work I want to do.

Grant and Fellowship
2/25/2016


Ken Weathersby awarded 2016 NJ State Council on the Arts/ Mid-Atlantic Arts Foundation Individual Artist Grant & Fellowship in Painting.

# # #

Artist Talk
11/23/2015


THE PATH OF THE NEEDLE
a talk about Alfred Jensen's painting, "Seeking to Unravel the Shape of an Enzyme", 1977, at the Newark Museum

Alfred Jensen created paintings that are visually dazzling and ruggedly physical. Colorful patterns seem driven by rivers of complex, abstract information. Art interwoven with ideas in this unusual way appears to offer a mystery to solve. Jensen's enigma has engaged my imagination and inspired me as an artist for a long time. On Sunday, December 13, 2015, at 2pm, I will be standing in front of his work "Seeking to Unravel the Shape of an Enzyme", at the Newark Museum, exploring its structure and implications, attempting to follow a thread. 

Museum admission is free that day for Newark residents, for all others *SUGGESTED* admission fee of $12.
The Newark Museum, 49 Washington St., Newark, NJ, 07102

Exhibition
10/9/2015


Part to Whole: work by Li Trincere and Ken Weathersby
curated by Karen Schifano

Key Projects, LIC, NY
November 7 - 22, 2015
Reception: Saturday, November 7, 2 - 4 PM

Part to Whole:
At first glance, the work of these two artists seems to have very little in common.
 
Li Trincere's powerful and intensely colored, shaped canvases exist as charged objects that feel iconic and yet also contingent. The inner organization, formed of  colored shapes, serves to structure and energize the painting shape by reversing the arrow directionality of its outer profile. We sense a greater whole, but the  divisions seem to also break this whole apart from the inside. Trincere's work seems to issue from some pre-verbal place and yet it is also articulate, accessible and intensely present.
 
The collaged and deconstructed wall pieces by Ken Weathersby are, on the other hand, usually neutral in color or black and white, sometimes with colored grid accents. He uses the conventions of painting creation, with its stretcher bars, underlying grid structure and canvas skin, as equal elements in his formal language, mixing and matching underpinnings and surface, image and structural elements to form a new kind of whole that seems to be always in the process of devolving and recreating itself. Images cut out of art history books are inserted into some of the compositions, creating reference to the world outside the abstract system, and setting up viewing lines that behave almost as "a cinematic eye-line match...  which mimic, echo and extend the artist’s and viewer’s acts of looking within a spatial field of abstraction."
 
However, both artists are involved with our bodily response to their work, using scale and literal dimensionality to approach a sculptural/haptic feeling. Rich built up surfaces in Trincere, textured and cut-open painting skins and wooden grids in Weathersby, tempt us to touch, to experience the painting as object in our own time and space. Weathersby acknowledges and questions the conventions that we use to define painting in its long history. And Trincere's use of shaped canvases also reframes painting's traditional role, from a rectangular window of illusionistic space, into an  iconic object of charismatic presence.
 
As Rudolph Arnheim argues in both "Visual Thinking" and "Art and Visual Perception",  the act of perception is in itself a form of thinking, a grasping of basic structural features, which have their parallel in the organization of the outside world. Basing his discussions on  gestalt psychology, he states that we perceive wholes, and therefore a needed feeling of balance, through various rules of the connection of parts: through similarity, contiguity, closure, symmetry, and past experience, for example. 
 
Both Trincere and Weathersby operate using these rules to different ends, each forming their own unique species of wholes from parts, but also allowing for their deconstruction again into their constituent elements. By placing their work together in one room, we are made aware, not only of the provocative edginess of each artist's issues, but are newly conscious of our own assumptions and perceptions as viewers looking for solid ground. 
--Karen Schifano
 
Key Projects
4129 41st Street, #2G
Long Island City, NY 11104

Hours: 
Saturday and Sunday from 1 - 5 PM 
and by appointment 

 

Exhibition
10/9/2015


Molting

October 15 - December 19, 2015
Reception: October 17, 7pm-10pm

Group exhibition at Aferro Gallery, 73 Market St., Newark, NJ
curated by Kayla Carucci, Alex Scott Cumming, and Jacob Mandel 

Artists:
Alexandra Desipris
Kevin Durkin
Manuela Eichner
Jessica Ellis
Gilbert Hsiao
Ryan Patrick Martin
Kelli McGuire
Tomo Mori
Alicia Papanek
Molly Soda
Vaughn Spann
Ceaphas Stubbs
Andrea Garcia Vasquez
Ken Weathersby
Juno Zago

Exhibition
10/9/2015


Constrasting Abstractions

October 8, 2015 - February 12, 2016
Group show at the Geraldine R. Dodge Foundation's 14 Maple Gallery
Morristown, NJ.

Exhibition
10/9/2015


Improvised Showboat

September 5, 2015

A one-night exhibition at Gary Stephan's studio.
Curated by Lauren Britton, Zachary Keating and Gary Stephan. 

Invited artists:
Julia Bland, Regina Bogat, Vincent Como, John Cowan, Cheryl Donegan, Steph Gonzales-Turner, Joanne Greenbaum, Suzanne Joelson, Janine Polak, Ellen Uzane Schneiderman, Jen Schwarting, Leslie Wayne, Ken Weathersby, Summer Wheat 

With a surprise installation / performance by Glenn Branca.

Interview
8/9/2015


Nathan Mullins at Mississippi Modern interviewed me. "My subject matter is a poetry that uses the given parts of the language of painting, both with and against itself."
Read the whole interview here.

Exhibition
6/9/2015


Off the Grid at Pierogi Gallery
Gallery 2
12 June – 12 July 2015
Opening Reception: Fri, 12 June. 7-9pm

John Phillip Abbot, Beth Campbell, Kathryn Refi, Ken Weathersby

Each of these four artists incorporates geometric elements in their work, hinting at the grid but veering off in imprecise and idiosyncratic directions. John Phillip Abbott develops the font for his text paintings in a loosely based grid format, using spray paint, stencil techniques and, for the paintings in this exhibition, strips of wood glued to the canvas surface. Beth Campbell’s “Potential Future Drawings” series, and her related mobile sculptures (one of which will be included in this exhibition), exhibit sequenced series of choices and possibilities, expanding exponentially. In her “Every Word I Spoke” drawing series, Kathryn Refi deconstructs words that she spoke on a particular day into color-coded grids corresponding to the words and letters, turning language into an imprecise grid. The off-kilter geometric forms in Ken Weathersby’s paintings suggest a precision that is not quite there. One painting included in this exhibition, “220 (tns),” consists of a wooden latice work placed in front of a collaged canvas. In another, “205,” irregular rectangles of wood crowd into the edges of a bi-color painted grid.

Pierogi: 177 North 9th Street Brooklyn, NY 11211

# # #

Exhibition
4/28/2015


Textual at ODETTA Gallery 
Leonardo Benzant, Annette Cords, Elana Herzog, Ken Weathersby 
April 24- May 31, 2015 
 OPENING Reception: Saturday April 25, 6-8 pm 
Artists’ Talk: Sunday, May 10, 2-4 pm  
229 Cook Street, Brooklyn, NY 11206 
Gallery hours: Fri‐Sun 1‐6 pm and by appointment.

Exhibition
4/28/2015


SEERS, SIGNS Gerd Borkelmann, Cody Tumblin and Ken Weathersby 
Curated by Dan Devening 
 April 30 - June 12, 2015 
 opening reception: Thursday, April 30 from 6- 9 p.m.

Artist Talk
4/6/2015



I will present a short slide talk about my work at the Zimmerli Art Museum at Rutgers University on Tuesday, April 7, 2015.

Begins at 7pm.

Exhibition
4/1/2015


"Therely Bare (Redux)"  at IS Projects, Leiden, the Netherlands April 11 - May 25, 2015 (then travelling to Athens, Greece for Arts Athina and then Zeitgeist Gallery in Nashville, TN, USA) 

Curated by John Tallman in association with IS-projects, Therely Bare (Redux) is an exhibition of non-objective art featuring the work of eleven artists from six countries. Working in a range of styles, the artists of this exhibition share in common a subversive or playful approach to the traditions of painting. The exhibition title Therely Bare (Redux) is wordplay, an inversion of “barely there.” It also hints at the curatorial premises of the exhibition. The physical presence of the work in the exhibition is not in question but the conceptual motives behind the work are more ambiguous. In this sense, the work is hiding in plain sight. The exhibition is meant to challenge typical modes of viewing and hopefully raise questions about means of perception. 

Participating artists: Billy Gruner (AU), Clary Stolte (NL), Guido Winkler (NL), Iemke van Dijk (NL), John Tallman (US), Ken Weathersby (US), Kwangyup Cheon (KR), Kevin Finklea (US), Lorri Ott (US), Richard Van Der Aa (FR) and Simon Ingram (NZ). 

IS-projects Guido Winkler, Iemke van Dijk Drie Octoberstraat 16-A 2313 ZP Leiden The Netherlands

Interview
2/7/2015


Mike Rutherford at Painter's Bread interviewed me about my work.
"I have claimed that if there was an easier way I'd take it, but apparently the difficulty is connected with what the work is about, and maybe I'm less interested in the easier way."
Read the whole interview here.

Artist Talk
11/17/2014


On Tuesday, November 11, I gave a slide talk about my work and process at the Trestle Gallery .  I discussed my painting and ideas, showing works going back to the late 1980s, and up to the present.

# # #


Review
3/7/2014

from: Hyperallergic.com
Ken Weathersby at Parallel Art Space
by Mostafa Heddaya on March 5, 2014

If, as the philosopher of art Nelson Goodman has argued,
“Denotation is the core of representation and is independent of resemblance,” then Ken Weathersby’s
tight wooden grids on view in Parallel Art Space’s Off the Wall are more than the mere “paintings” the artist calls them — they fully inhabit the fate of canvas as partition between signifier and signified. A grid, as interpretive
model in a symbolic system, embodies denotation by being itself a terrain for signification, e.g. the space that makes intelligible the slippage between “Queen to F7″ and “Checkmate.” And so too do these latticeworks with found objects, ranging from the Metropolitan Museum of Art’s Summer 1982 bulletin to bits of textile, eschew the stable universe of easel and palette to probe a more fundamental schema of mediation.

From the outside, Weathersby’s pieces straddle the clinical geometry of Op art and the organic architectural character of traditional room dividers and panels, like the Arab mashrabeya or the Japanese screen, and are unobtrusive, orderly, suggestive even of a painterly monasticism. Yet, humming with accidental multitudes, these are not a recluse’s relics: bits and pieces stripped of their original context fortify the three-dimensional matrix that Weathersby constructs like scaffolding around the troubled repose of the pictorial plane. These occlusions are ghosts in an alternately rigid and brittle system (the artist’s glue is visible at every junction), and flutter between the pictorial, verbal, and diagrammatical denotations identified by Goodman in the aforecited Languages of Art. The found artifacts play out the penury of signs, ripped from some original order and entrapped in the next, their irrelevant resemblances sublimated within the grid. Here together are the limits of symbolic systems and the lexical affects we adopt to parse them.

Ken Weathersby is certainly not the first artist to have
manipulated painting and denotation, or desecrated the ever-cooling corpse of canvas — the project has a distinctly vintage, Black Mountain College feel to it — but there is a focused and exploratory energy at work in his pieces, a maturity of purpose that stands at ascetic remove from the cloying color and sloppy corporeality that too often comes to the fore in Bushwick.

Ken Weathersby’s work is on view in Off the Wall at
Parallel Art Space (17-17 Troutman Street, Ridgewood, Queens) through March
23. 

# # #


Exhibition
2/12/2014


OFF THE WALL at Parallel Art Space

A group exhibition with works that in various ways
converse with and diverge from the traditional wall format. 


Gilbert Hsiao

Stacie Johnson

Alex Paik

Kim Tran

Ken Weathersby

February 22 – March 23, 2014 Reception: Saturday, February 22, 6 pm – 9 pm Hours: Sat/Sun 1-6pm and by appointment Parallel Art Space: 17-17 Troutman Street #220, Ridgewood, NY 11385

• • •

The viewing of all painting from the Old Masters to the “Super Flat” is, among other things, an experience with space. Different than the storied development of pictorial illusion in art, the space that is considered in “Off the Wall” is the actual, real-time environment of the art object; areas surrounding it, in front of it, and most especially behind it, in this case, the supporting wall itself.

The interest in and involvement with the wall behind the art perhaps has its roots in the rich tradition of the construction of the painted image, built up as it is, through the accretion of layers of pigmented medium, thin and close to the gessoed substrate in some areas, thick and impastoed in others. The Grisaille method of underpainting is an excellent example of this historic push and pull movement of paint through space as in this technique, the white highlights of a painting are built up in layers to a kind of shallow, bas-relief topography across the picture plane. The art makers long standing occupation with movement, both away from and out toward the viewer in space has modern examples in Frank Stella’s “Exotic Bird” series, wherein arabesque, curly-q drafting tool shapes leap brightly off the canvas, and in the monochrome, “Spatial” paintings of Lucio Fontana, wherein slashes through the stretched canvas pull the space just behind the artwork directly into viewer consideration.

The works in “Off the Wall” in some ways respond to these patterns of painterly innovation, contributing substantively to the discourse from their own points of intention and concern. Paired with a Post-modern era’s consideration of context, these artists, through the formal engagement of the art objects environs, pull context into co-operation. Existing both within the disciplines of painting, sculpture and design as well as in the liminal spaces in-between, the works in “Off the Wall” stay rooted to the wall, but not confined to it, vibrating out across the divisions of two-dimensions to three and back again.


In the way that painters weave layers of shape, line, and color across the canvas, so too does Ken Weathersby inter-lace his wood-based constructions with paint, collaged images and found objects. On whether the material focus in his work pushes his concerns toward the sculptural, the artist has offered, “Because of the emphasis on physical aspects of painting, and the sometimes elaborate wood structures that develop, people have asked me if they are becoming sculpture. The answer is no, even if the thing becomes free-standing, it’s still painting. Responding to the conditions of painting gives me something to work against. “ By working against the concerns of painting, the artist mines the oft times under-appreciated areas at the margins of consideration, the edges, the borders of form and the spaces in between.


# # #


Publication
2/12/2014


New American Paintings #110 features my recent paintings. This is my third appearance in NAP.

###


Curating
1/17/2014


"Data, Dust" - Becky Brown at Kent Place Gallery


Monday January 13, 2013 – Friday February 7, 2014

Reception: Friday January 17, 6-8pm

Brown’s exhibition, titled “Data, Dust”, will fill the gallery with a complex, vivid installation combining painting, collage, words and objects.

“Data, Dust” will include work from her “Complexes” series, long, scroll-like drawings that arrange found images and abstract shapes to form a kind of visual poetry. Structural ideas from literature, as well as shuffling of signs, marks and pictures underlie the elaborate and surprising works produced. The compositions are both playful and serious.

The artist has said, “My work focuses on visual vs. text language (their distinct conventions and inevitable overlaps); and the relationship of this composite language to architecture, urban space and the tradition of abstract art.”

The artist is a 2012 MFA graduate of the fine arts program at Hunter College. She has recently exhibited in New York City; Delhi, India; Tegucigalpa, Honduras; Vienna, Austria; Berlin, Germany and Lodz, Poland. Residencies include Yaddo, I-Park Foundation, Vermont Studio Center, the Virginia Center for the Creative Arts and The WhyNot Place in Delhi, India. Since 2007, she has written art criticism for the Brooklyn Rail and artcritical.com.

Kent Place Gallery is on the campus of Kent Place School, 42 Norwood Avenue, Summit, NJ. Gallery hours are Monday – Friday, 9:00 am to 4:00 pm. For more information call (908) 273-0900, or visit www.kentplace.org.


# # #


Artist Talk
11/8/2013


On Thursday, November 7, at 7pm, I gave a slide talk about my work and process at the Montclair Art Museum, along with four other artists (Ruby Onyinyechi Amanze, Dahlia Elsayed, Phoenix Lindsey-Hall, Nyugen E. Smith).

# # #


curating
9/11/2013


“Joggie, 1983” Jason Stopa at Kent Place Gallery

 

Kent Place Gallery presents paintings by Jason Stopa from September 9 – October 4, 2013. 

Reception for the artist from 6-8 pm, Friday, September 27.


Stopa’s paintings in this show are playful, vivid, and refer to childhood experiences.  The “Joggie” referred to in the show’s title was Stopa’s imaginary childhood friend, and 1983 refers to the year the artist was born.  Both imagination and memory are deeply embedded themes in these paintings.  At the same time, the works are dynamic abstract statements of the possibilities of paint, with passages alternately thickly troweled or thinly brushed, using combinations of acrylic, oil, enamel, spray paint and, at times, glitter.  Iconic images of basketball nets, watermelons, rainbows and more float on scintillating painterly fields, as if in the mind’s eye.

Stopa states, “I make abstract paintings with representational references.   Currently, my palette is limited to pastels, neon and blacks. I'm interested in making work where the frame/edge is pronounced, where pattern becomes form and where there is a marked distinction between thin and thick handling.  

I have two bodies of work for this show. One is Joggie. The other is Brooklyn Zoo. I grew up on the east coast, and the Brooklyn Zoo series are a group of paintings that reference urban settings. Basketball, food and hip hop music find their way into these works.”

According to Kent Place Gallery Director Ken Weathersby, “Stopa’s paintings present something direct and evocative with complexity. There is always a tie in to personal experience in a way that moves beyond the personal.  I see a social dimension in Stopa’s art, something that resonates with both humor and a critical edge, as the images situate themselves in relation to the broader field of historic and contemporary painting.  We ask, ‘What is generally seen as an iconic thing, and what is iconic in these paintings?’ and for the sensitive viewer there emerges a kind of identification with the ‘voice’ of the artist and the mood evoked here.  I think it is wonderful to start the season at Kent Place Gallery with this rewarding show.”

Stopa’s work has been presented in numerous exhibitions in NYC including Janet Kurnatowksi Gallery, the Elizabeth Foundation for the Arts, and Bull & Ram Gallery.  He holds an MFA from Pratt Institute, NY.

Kent Place Gallery is on the campus of Kent Place School, 42 Norwood Avenue, Summit, NJ.  Gallery hours are Monday – Friday, 9:00 am to 4:00 pm.  For more information call (908) 273-0900, or visit www.kentplace.org.

 

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Exhibition
6/19/2013


detail, 198(dc)

Linda Francis, John O'Connor, Ken Weathersby
Suite 217, 56 Bogart Street, Brooklyn, NY
June 6 - July 14, 2013


Thoughts on 
“Linda Francis, John O’Connor, Ken Weathersby” 
at Suite 217

He had shown that the image did not exist, only chains of images, and that the very way these were assembled, from the genetic code to the Renault production chain, this assembly itself constituted an image, an image that reflected how we fit into the center or the periphery of the universe.

--Jean-Luc Godard, “Changer d’image”


In a video commissioned for French television in 1982, whose narration is quoted above in translation, Godard wrestles with the question of whether and how images can resist commodification.  The exhibition that joins works by Linda Francis, John O’Connor, and Ken Weathersby similarly makes me think about how artists can have a critical relationship to the near-omnipresent forces of the commodity market, in a culture of capital that has expanded even further over the past few decades.  The artworks here provoke questions about the flow of capital exchange that seems to saturate every aspect of our lives.


Fluidity, flexibility: oft-cited keywords of the transnational corporate economy, which penetrates public space and institutions through privatization, and personal experience through digital information technology.  The mobile realm of production contracts labor wherever profit is greatest, while the deregulated financial industry increasingly speculates on the flow of symbolic capital itself.  Smooth operation is ostensibly the order of the day.


Placing high stakes, making hearts ache / He’s loved in seven languages / Diamond nights and ruby lights, high in the sky / Heaven help him, when he falls

--Sade, “Smooth Operator”


Linda Francis’s recent work is based on electron-microscope images of the surface of a failed heat shield of a 1990s space shuttle, images that she overlays repeatedly on the computer.  Her pieces present technological visualizations of physical structure—a structure designed, unsuccessfully, to harness resistance.  The artworks also incorporate into the imagery evidence of the media that produce them, such as pixelation.


In Interference, the crystalline components arrayed within the image suggest patterned organization while eluding it.  Across the multiple silkscreened prints assembled in the piece, repetition and alignment at the edges structure the image. Thus pattern recognition in Interference is both fugitive and precise.  Indeed a strong diagonal current crosses a literal gap to a separate, larger panel that leans on the floor against the wall.  Shifts in scale and near-repetitions are vertiginous.


Also patternlike but dizzyingly evasive, We Can Build You is a more physically factured, painted version of the image at greater magnification.  It resembles representations of biological code, and its title (taken from the Phillip K. Dick novel) evokes the manipulations of biotechnology, and more generally the way technological capitalism works on us.  Francis’s pieces invite contemplation of hypermediation and replication, as well as contingency, fissure, and friction, with a coolly observant gaze.


John O’Connor also indexes research material in his drawings, which underscore the imbrication of psychological experience with an information economy.  As the Surrealists channeled the illogical logic of the unconscious, O’Connor cultivates delirious overloads of information processing.  He produces drawings by using shifting, idiosyncratic codes: converting text into numbers, reversing letters, translating letters into colors by randomly devised systems, running garbled text through an electronic dictionary.


Turing (named for the computer scientist and his famous test of whether machines can think) presents an oval loop of linked bits of textual data.  The loop surrounds a set of inwardly folding, bunching shapes that evoke an organism introjecting and expelling.  O’Connor generated the incomprehensible data by a dialogue between his free associations, processed through multiple overcodings, and an electronic dictionary’s responses (one of which eerily speaks to Alan Turing’s persecution for his sexuality).  Characteristic of the artist’s work, the drawing appears both diagrammatic and indecipherable.


In SUSEJ, a drawing of intricately colored grids, O’Connor includes notations of his text-to-color coding at the paper’s edges.  The piece invites us to comprehend the design of the delicate arrangement of colors, but its structuring principles are opaque.  Similarly, the thin, almost weightless sculptures Future Rods are covered in blocky text concerning prediction, which resists deciphering.  Obtruding on the gallery floor, they evoke the forces of futures speculation that invest contemporary life. 


O’Connor’s artistic practice mines the extra-aesthetic, representing processed information from the provinces of socioeconomics, politics, science, mass culture, and personal life.  His work does not so much assimilate these realms into absorbable images, but rather creates incongruity, discordance, uncanny disconcertment.


Ken Weathersby, on the other hand, makes dissonant the constitutive elements of conventional art objects themselves, specifically paintings: that is, paint applied for perceptual activity, canvas or linen, and wooden support. 


In 198 (dc),  paint is applied to a wood support, but that substrate is also image: it’s an elaborate grid of layered wood strips, which cutouts in the painted front surface reveal from the picture plane.  Meanwhile the painted image, an optically active grid of black and white squares, is a material slab of acrylic film directly glued to the wood.  The resemblance of the grids, and the equivocation of figure and ground at the level of image and physical material, confound distinctions between structure and surface.   


In the freestanding 194 (z), another painted grid of tiny squares echoes a larger grid of wood strips that supports the painting.  In this piece, the wood strips enclose the painting, holding it within.  The structure is a delicate cage that partially obscures the painting, here in its conventional form of acrylic on a rectangle of fabric over stretcher bars.  Planar yet viewable in the round, the hybrid 194 (z) presents us with ambiguity about what is supportive structure and what is visual display.


Weathersby’s work foregrounds how the realms of visual image and material production are implicated with each other.  It is as though painting is posing questions about its constituent terms.  In 197 (dcch), what looks like a painting—a thin plane of an optically active grid of colors—is dissected to present a literal, physical interior that contains overlapping parts of other gridded paintings and wooden grids.  The piece highlights a sense of imbrication and conditionality.


Interestingly, the container is also a key figure in contemporary economics; the container ship is pivotal to global exchange, as it’s designed to make the supply chain as smooth as possible.  Indeed, as the forces of transnational capitalism are ever more pervasive, they operate largely below the threshold of perceptibility.  The artwork of Weathersby, Francis, and O’Connor each raises issues of imbrication, of congruence and incongruity.  It resonates keenly with the extra-artistic socioeconomic situation, and its discontents.



Exhibition
4/7/2013


"Silent Opera", a solo show at One River Gallery, Englewood, NJ.  April 19 through May 24, 2013.

Reception Friday, April 19, 6 - 9 pm.

Ken Weathersby’s exhibition, Silent Opera, presents works that transpose and shuffle optical and physical aspects. In the paintings, painted grids of primary color or high-contrast black and white are interrupted, displaced, removed, enclosed or cut into. In the collage-based works, found images are submerged under dense, wooden grids.

The idea of a painting’s abstract face or a photographed human image as a site of display is muted and complicated by these interventions. When an object is exhibited, it is like a performer stepping forward onto a stage, and if the sound of the song is cut or muffled, we hear the sound of the performer’s footsteps, the incidental stage business, the bump and clatter of conventions that normally surround the song.

“Responding to the given conditions of painting gives me something to work against. I’ve tried to separate the parts of physical language of painting, the paint surface, the wooden support, the canvas or linen, and reset them in new relations. Recently I’ve also been cannibalizing my bookshelf, taking whole pages mostly from art books, and building on top of them; hiding them, replacing them, saving them, burying them.” 

One River Gallery - 49 N. Dean St., Englewood, NJ 07631

#  #  #

Publication
4/7/2013


Hearing a classic rock riff births a false memory concerning Dieter Krieg's giant paintings in "Refigured Painting - the German Image 1960-88".


Neo-Expressionism and Power Chords
by Ken Weathersby


Hearing the guitar riff toward the end of Boston’s 1976 rock song “Peace of Mind” from a passing car radio the other day, I was a little surprised to find myself gripped by the sound, just as when I was a teenager and predictably compelled by such things many years ago.

The musical gesture is certainly a cliché but I listened; a cluster of chords form a simple, blocky, repeated figure.  The fully cranked electric guitar and amp pump out a sound soaked in a humming spectrum of overtone distortion.  All other instruments drop out during the break and let it hang excitingly in the air.  The aural space around it for that moment is vast. 

The brief rhythmic guitar break is a statement of the drive that’s layered up and elaborated throughout the entire song, but here it is stripped down for a minute, right to the heart of the matter: a sonic emotional mission statement by the long-haired, red-eyed stoner at the center of it all. He soars for a moment through an inner space of pure feeling, whipping out in this riff an energy that majestically trumps all that boring “corporate ladder” and “competition” crap.

As I listened, the emotional freight carried by this guitar riff called to mind something of what I encountered later in life in the loaded brush marks of Neo Expressionist paintings. I spontaneously visualized big German pictures from the 1970s and 1980s. I first actually saw such canvases at the Toledo Museum of Art in 1988, in the traveling exhibition “Painting Refigured”.  That show, organized by the Guggenheim Museum and Williams College Museum of Art, took stock of German painting between 1960 and 1988, with an emphasis on the return of figuration, but also a high concentration of the heavy-duty use of oil paint on enormous canvases. Artists in the show included Baselitz, Kiefer, Lupertz, and Polke.  I remembered standing in the museum taking in the way a particular painting featured a massive stroke from a paint-loaded brush that seemed to have been the size of a broom.  The colors were mixed right on the canvas, inside the smeared mark, to make unexpected contrasts and crazy marbled streaks, countless bleeds and clots within an individual swipe of paint.  This memory, as it was focused in my mind’s eye, was of a huge painting made with a single monumental mark, an abstraction and at the same time an indirect representation of the presence of a giant, a towering artist who might have created this work in a flash, with a single dab.  After locating and consulting the exhibition catalog for “Refigured Painting”, I couldn’t find a record of this particular painting anywhere.  I realized that my memory of this piece was closely associated with a couple of untitled paintings from 1985, by Dieter Krieg.  Looking at the reproductions now, I see that they are neither fully abstract nor composed of a single stroke.  One represents what looks like a chicken leg and a thermometer, and the other one depicts a huge fish hook piercing a scrap of paper with the word “idiot” scrawled on it.  Looking at these in the “Refigured Painting” catalog, I realized that my recollection of a monumental single-stroke painting was a false memory, essentially an invention of my own. It didn’t exist, but was maybe accurate as an involuntary distillation of part of my impression at the time of the show.  The Krieg paintings certainly were composed of the kind of heavy, fraught marks I thought of hearing that Boston song.

The macho (almost all were men) German painters whose photos appeared in the back of the catalogs (I pulled out and consulted another catalog of a similar show, “Expressions: New Art from Germany”, which included many of the same artists and toured US museums earlier in the ‘80s) were dressed and styled as tough rebels, attempting rock star glamour (though maybe more punk rock than arena rock) in their black leather jackets, five o’clock-shadowed chins and scowls.  A 1981 painting in “Refigured Painting” by Helmut Middendorf called “Singer” is dominated by a hunched, skinny figure holding a microphone stand, but was clearly directly copied from a photo of guitarist smashing his instrument on the stage from the cover of the Clash’s “London Calling”(1979).

As there is something signaling excess, even hinting at chaos in an overdriven distorted guitar on the edge of feedback, so there is in the touch of a gigantic brush dripping with a giant blob of mottled oil color. Each contains potential worlds within itself-- and each can present a virtuosic dishing out of monumental forms, fat floating slabs for the ears or the eyes. In both cases the expression is a presumption of intensity and power deployed. In both cases the awareness of the touch of a creating hand invites one to identify and emulate by miming a swinging gesture of a brush, or a thrash at an air guitar. It’s a seductive image of mastery, full of grandiosity.

The implication of a controlling agent behind these expressions, able to propel and direct such potent stuff, suggests to me now that the appeal of these forms and the identification they offered promised compensation for adolescent male anxiety, a fulfilling of lack, an allaying of fear.  It went without saying that all my male high school friends liked that guitar sound (it was beyond assumed), just as my colleagues in art school were excited about those big German smears of paint.  It was a feeling.  It was more than a feeling.

###


Exhibition
1/31/2013


"Nearly Neutral" 

curated by John O'Connor

January 29 - February 26, 2013

Heimbold Visual Arts Center at Sarah Lawrence College, Bronxville, NY

artists:

Michele Alpern, Ivin Ballen, Dawn Clements, Matthew Fisher, Linda Francis, Rachel Hayes, Ridley Howard, Allan Macintyre, Jerome Marshak, Ryan Mrozowkski, Matthew Northridge, Bruce Pearson, Antonia Perez, Shahpour Pouyan, Kanishka Raja, Timothy Smith, Bruce Stiglich, Ken Weathersby

#  #  #



Exhibition
1/31/2013


"Cache" a solo show of five new works at NIAD Art Center, Richmond, CA, through February 25, 2013.

"For his new collages, New York artist Ken Weathersby has taken to cannibalizing his bookshelf. Using entire pages from an art book, mostly images of Greek sculpture, or other figurative images, Weathersby buries each under one of his signature wooden grids. The pieces become elegant and complex explorations of the picture plane. Cache: New Work From Ken Weathersby, a selection of the artist’s most recent collages are on view in NIAD’s annex gallery."

--NIAD Gallery Director Tim Buckwalter

#  #  #


Curating
9/23/2012


(for "The Structural Catalyst" - my extended essay & slide show about this exhibition on youtube, click here.)

“Mark Dagley 1976 - 2011” An Abstract Retrospective at Kent Place Gallery  

The Kent Place Gallery will present a chronological selection of artworks spanning 35 years by Mark Dagley, from Monday, September 10, through Friday, October 5, 2012.  There will be a reception for the artist from 6-8 pm on Friday, September 28.  

Mark Dagley’s visually dazzling, exploratory abstract art has been exhibited in New York and internationally since the mid-1980s.  This Kent Place Gallery exhibition is a carefully selected timeline, including strong pieces from all periods, reaching back to a few very early works from 1976 and concluding with recent paintings. (To coincide with this overview, Minus Space gallery in Brooklyn will open an exciting show of Dagley’s newest works, called “Structural Solutions.” The Minus Space exhibition runs September 7 – October 27.) 

In the paintings, works on paper and sculptures at Kent Place, one can see Dagley developing a wide range of artistic possibilities, including hallucinatory optical and retinal color effects, intense patterns, contradictory painterly spaces, and geometric constructions.  There is a through-line of abstraction, and of surprising wit and inventiveness, evidence of a rigorous and playful sensibility linking all the objects on view. One of the most striking pieces in the show is a chunky, stacked “ziggurat” from the mid-eighties that seems to be both a sculpture and a painting.  Its squat monumentality and position on the floor say sculpture—sculpture that refers to architecture.  Its black, reflective surface is lush and slick, almost reading as standing liquid. This surface is clearly a poured paint film, and the stretched canvas visible on the sides of each of the object’s “steps” further links it to traditions of painting in general, and to other black paintings in particular.  One can think of Stella’s “pin stripe” paintings, or of the black square images of Malevich.  The glossy surface and simplified formal progressions in such works by Dagley also resemble early video game icons, introducing a flavor of the digital. The condensation of these implications and more into this elegant self-contained object has unusual humor and poetry.

Gallery Director Ken Weathersby said, “I am very excited to be able to present this show at Kent Place.  Mark Dagley is a significant artist, someone whose achievement and ongoing uncompromised creativity I greatly admire.   When we first discussed the possibility of his exhibiting here, it was his idea to do a chronological overview. What could be better in a school setting, for young artists to see, than a record of someone creating, developing and experimenting over three and a half decades?  We included a group of working drawings as well as finished pieces.  Mark’s thinking is present in all of this, but seeing his process and notes to himself in the drawings gives a peek behind the curtain, to some of how he gets there, which will be great for my students. This is also a show that contemporary artists will want to see.  I can think of many active painters in New York (myself included) who can be informed by it.”

Mark Dagley was born in Washington DC and lives in Jersey City, New Jersey.  Venues for his recent New York solo shows include Minus Space, and Up & Co.  He has shown extensively in the US and Europe since the mid-1980s, including many important solo and group exhibitions, and is included in many major public and private collections.

Kent Place Gallery is on the campus of Kent Place School, 42 Norwood Avenue, Summit, NJ.  Gallery hours are Monday – Friday, 9:00 am to 4:00 pm.  For more information call (908) 273-0900, or visit www.kentplace.org. 

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Exhibition
7/28/2012


Group Exhibition
Masquerader 
curated by Ken Resseger

Aug 5 - Aug 12, 2012

Reception: Aug 5, 4-7 pm

Artists:
George Blaha
Michael Brennan
Just Kids
Carey Maxon
KD Resseger
Lynn Talbot
Ken Weathersby
 
"Charlie plays an actor who bungles several scenes and is kicked out. He returns convincingly dressed as a lady and charms the director. Even so, Charlie never makes it into the film, winding up at the bottom of a well.
- The Masquerader, 1914 starring Charlie Chaplin (synopsis of) —-"


The Howard Art Project
1386 Dorchester Ave.
Dorchester MA


# # #

Exhibition
7/11/2012


Group Exhibition
Post-Op

July 12–August 17, 2012
Opening: Thursday, July 12, 5-7pm

Artists: Rachel Beach, Peter Demos, Andrew Falkowski, Emilio Gomariz, Jay Shinn, Suzanne Song, Rebecca Ward, and Ken Weathersby

"Mixed Greens presents Post-Op, a group exhibition exploring the influence of Op Art within contemporary visual art practice. The recognizable movement of the mid-60s was dismissed by many critics of the time, but the movement—grown out of geometric abstraction, trompe l’oeil, and the uncertainty and perceptual change of the mid-20th Century—has proven to be of current importance. Post-Op brings together eight artists working in a variety of media, all of whom contemplate perception, form, function, and rationality to create works tied to the lineage of the Op movement. Through color, line, lighting, and even animation, these artists explore visual illusion in exciting ways.


"

Mixed Greens -- 531 west 26th street, 1st floor -- new york, ny 10001 -- tel: 212 331 8888 -- fax: 212 343 2134 -- info@mixedgreens.com

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Exhibition
2/26/2012


The Other Ken Weathersby

Gallery Aferro - 73 Market Street, Newark, NJ 07102

http://www.aferro.org

March 10 – April 14, 2012

Reception, March 10, 7pm.

"Ken Weathersby’s exhibition at Gallery Aferro includes easel-sized, patterned abstract paintings, photographic works, and several wall-mounted boxes containing tiny, crafted objects resembling miniature paintings.

The works in the show shuffle the traditional given stuff of pictures and picture-making. The paintings are subtly pulled apart, or have pieces cut out and removed, or their painted faces refuse to be seen. The wall-mounted boxes may be mere models for groupings of larger works, or may be works in themselves. This intentional ambiguity extends to photographs included in the show, paired portraits, which offer false resemblance and shifting identity in seemingly straightforward profile pictures."

# # #


Curating
2/14/2012


image: Untitled (Parallels 66), detail, 2011, acrylic polymer and bismuth on canvas, Jeffrey Scott Mathews

You Have Found a Way to Be Here

Jeffrey Scott Mathews
Kent Place Gallery
Tuesday, February 14 – Friday, March 9, 2012. Reception: 6-8 pm, Friday, March 9.

Mathew’s exhibition, titled “You Have Found a Way to Be Here”, includes abstract works in the unusual medium of bismuth on canvas. Spectacular, colorful deposits of the melted metal crystallize on the surface of several paintings. Others works feature powerful, quilted geometric grids of colored fabric. The whole exhibition unites an underlying mystical aura with a lucid understanding of contemporary painting’s possibilities.

The artist has said, “The exhibition title taken as a precept relates to the tenets of hermeticism, the occult, alchemy, magick, consciousness and devotion. What is to be found in the work is primarily geometric, (approximately) symmetric, ordered, gestured and crystallized. I am intent on expanding upon Minimalist and Post-Minimalist strategies.” Mathews work offers a complex statement, highly attuned to the visual and physical properties of painting. It is also geared toward the possibility of activating a historical link. He cites his interest and involvement with the aims of past artists and writers, including JG Ballard, the Shakers, Jorge Luis Borges, Yves Klein, Anni Albers and others. Regarding his unusual technique, the artist explains, “Triangles in repetition and sewn together become hermetic tapestries… molten bismuth is applied to linen or canvas; tracing the path of the artists hand, only to be naturally crystallized over.”

Gallery Director Ken Weathersby said of Mathew’s art, “The surfaces are incredibly palpable and create a site where the artist compresses information, sensation and energy into a concentrated and refined form. In this mixture we see artist’s actions and the workings of matter joined in an unusual way. An enormous amount of processing and discrete conjuring results in works both rugged and delicate. A kind of lucid, canny, post-post-modern version of the alchemist’s “philosopher’s stone” seems on the verge of forming before our eyes. These works are strange, but entirely convincing.”

The artist is a graduate of the MFA program at Cranbrook Academy of Art, in Michigan. His work has previously been included in group shows at French Neon, St. Cecilias Convent, Hal Bromm Gallery, X Initiaive, all in NY, and a recent two-person show at Jolie Laide Gallery in Philadelphia, among other exhibitions. Kent Place Gallery is on the campus of Kent Place School, 42 Norwood Avenue, Summit, NJ. Gallery hours are Monday – Friday, 9:00 am to 4:00 pm. For more information call (908) 273-0900, or visit www.kentplace.org. # # #

Interview
1/20/2012



John O'Connor interviewed me for NY Arts Magazine. 

To read the full interview, click the NY ARTS logo above.

KW:  "In my paintings those various given terms tend to get outside their usual roles, to do different things. Sometimes the linen support and the painted front switch places. Sometimes the wood gets itself in between the paint and the linen. Paintings seem to be undoing something about how they would normally work."

I talk about zombies too.




# # #

Exhibition
1/3/2012


"Textility," at the Visual Art Center of New Jersey.

Reception: Friday, January 13, 6-8pm. 
Through April 1, 2012.
Sunday, March 25, 2:00 pm-4:00 pm, talk with the artists and curators.

"Co-curators Mary Birmingham and Joanne Mattera coined the word "textility" to describe a new sensibility that they divide into three separate categories: paintings without paint (and its corollary, drawing without pencil), textiles without thread, and idiosyncratic work made with a strong focus on materiality and process." (Sharon Butler - Two Coats of Paint blog)

"Ken Weathersby deconstructs painting's physical components, interrupting the expected relationships among wooden stretcher, canvas, and painted image.  A cutaway section on his diptych, "179 (twn)", reveals a gridded wooden network that suggests the warp and weft  structure of weaving and also references the wooden stretcher bars.  If Lucio Fontana cut his canvas to reveal the space behind painting, Ken Weathersby seems to dissect his, displacing, inserting, and reversing sections." (Mary Birmingham - "Textility" catalog essay) 

Participating artists: Joell Baxter, Caroline Burton, Sharon Butler, Mary Carlson, Jennifer Cecere, Pip Culbert, Elisa D'Arrigo, Grace DeGennaro, Barbara Ellmann, Carly Glovinski, Elana Herzog, Marietta Hoferer, Nava Lubelski, Stephen Maine, Lael Marshall, Derick Melander, Sam Messenger, Sam Moyer, Lalani Nan, Aric Obrosey, Gelah Penn, Debra Ramsay, Susan Still Scott, Arlene Shechet, Susanna Starr, Leslie Wayne, Ken Weathersby and Peter Weber.

A fully illustrated catalog that includes essays by both curators will accompany the show.

Visual Arts Center of New Jersey
68 Elm Street, Summit, NJ 07901
908.273.9121


# # #

Artist Talk (video)
12/20/2011


Artist talk at Aferro Gallery on 12-8-11.
Click on the image to see the talk on youtube.
(10 min.)


# # #

Exhibitions
9/1/2011


Without End 

I'll be showing three new paintings in the exhibition, "Without End" at University of Delaware's Crane Gallery in Philadelphia.

“… In this exhibition, the work selected looks through the lens of process in making art, and specifically the construction and deconstruction of ideas, formula, aesthetics and memory…”

Sept. 8 - Oct. 6, 2011 (reception Sept. 8, 6-9pm)
Crane Gallery
1400 American St.
Philadelphia, PA
and in...
Faction
a group show, at University of Dayton, in Dayton, Ohio.
Oct. 3 - Oct. 24, 2011 (reception Tuesday, October 18th, 6 - 8pm.
Art Street, Studio D
University of Dayton
Dayton Ohio, 45469

# # #

Exhibition
5/26/2011


Time Is the Diamond (detail), Ken Weathersby, 2011, printed paper on linen over archival foamboard, less than 5" tall

Some Walls
"Time Is the Diamond" will be on view August 7 - September 25, 2011. Some Walls is a curatorial and writing project in a private home in Oakland, California directed by artist and writer Chris Ashley. 

Ken Weathersby’s "Time is the Diamond"

Some argue that painting, like Humpty Dumpty, has fallen off the wall, taken a great fall, and can’t be put back together again: dropped, cracked open, oozed out, and finished. But painters like Ken Weathersby have shown that painting appears to continue living a healthy life long after its reported demise. Paintings do things and are about things that other mediums can’t match. While much art continues on a seemingly rapid path towards newer technologies and entertainment, encouraging fast looking and sound bite-like understanding, the technology of most painting, handmade and viewed slowly, at a finely granular level, might gradually be seen as anti-technology, or rather, as a kind of antidote to quicker, bigger, and shinier art. The technology of painting is more like Fred Flintstone’s car, made out of stone, wood, and animal skins, and powered and stopped by the driver’s feet.

In addition to the fundamentals of painting, however, its literal and conceptual deconstruction is an issue inherent to the medium throughout history. Painting has moved from being made on a specific wall, to being made for a specific wall or setting, and ultimately made to be completely portable and adaptable to different environments. Patronage has shifted among the church, the state, the wealthy, and the commoner. And, periodically, the question asked again and again is, just what is a painting: what shape is it, is it flat, how does it hang, what size is it, and must it be made with paint?

Ken Weathersby’s art engages smartly and sensitively with the possibilities of painting. Simultaneously clear-minded and intuitive, rational and risky, he pulls painting apart and puts it back together, making something new and quirky and thoughtful. Canvases are sliced and diced, but unlike Lucio Fontana’s cuts opening a void, Weathersby’s cuts are surgical, so that parts can be reattached, or transplanted, or opened to view another level of the painting. He cuts, rotates, shifts, reverses, and inserts. The classic grid or checkerboard is interrupted or made imperfect. Fronts and backs visibly co-exist, and the rarely seen chassis, staples, nails, screws, and threads are exposed. Elaborate carpentry normally behind the scenes becomes a central player. Weathersby’s paintings don’t merely question what a painting is, but provide physical evidence of several visual and philosophical resolutions to the properties, problems, expectations, and contradictions of painting by exploring front and back, inside and outside, the plane of the surface and depicted and actual space, pattern and disruption, and craft and art.

Weathersby’s small works, made with foam core, linen, wood, tape, and the images of his work reproduced on exhibition announcements, are not exactly studies. Although they use many of the same motifs and structures and share the same subjects and concepts found in his larger size work, they are individual pieces that can stand alone. To call them miniatures would not be an insult or diminution, but instead a useful label to place these small pieces as a specific set within Weathersby’s body of work. And though small, each works scale reads as large and full-sized, or, rather, right-sized.

Lined up on a simple shelf and leaning against the wall are twenty-two works in less than twelve linear feet, the smallest measuring approximately 2.5 x 1.5 inches, the largest, a real outlier, at just over 8 x 5 inches. This installation, Time is the Diamond, titled after a song by the American band Low, provides an overview and record of Weathersby’s invention, wit, and curiosity, of what painting might be, aspires to be, and can’t overcome. The song’s dense, abstract, almost impenetrable lyrics have a folk quality, listing things the singer is or is not, or has and has lost, akin to the hybrid and transgressive qualities in Weathersby’s art that are ultimately resolved, over time, in honed, precise, finished works:

If I’m not a lion
And I’m not an island
If time is the diamond
Well all right.

Weathersby’s art is extremely forthright but not immediately fully forthcoming; initially appearing accessible, it is complicated, dense, and full of rich and intriguing contradiction. At a quick glance, his images are of a type one might expect to be manufactured, but instead we see that every single aspect of the work is handcrafted, from the elaborate stretchers and framing, to the taped and painted areas, to the surface cuts and insertions. Materially and structurally, he makes plain how the object is made, but there is often a sense of peekaboo or sleight of hand in the layers, displacement, and disruption of image and spaces. One would expect the use of the grid and checkerboard to lead to stability, but more often than not these normally regular fields are set ajar, slid apart, flipped open, broken, or misaligned. This is not art that panders, but rather insists that we engage by visually assembling, disassembling, and reassembling each work’s constituent parts in order to see, experience, and understand a holistic image and object. This is one way that Weathersby’s art extends painting’s possibilities.

Weathersby also extends paintings’s possibilities via the emotional and psychological spaces and situations it instigates. Intellectually, we might encounter his work as a visual puzzle to be solved, but there is more at stake here. What is the emotion of assembly and disassembly, visibility and invisibility, regularity and disruption, and why is this interesting and how does it enhance our lives? What is the psychology of gaps, slips, incisions, displacements, and what use is this to us? Weathersby’s art isn’t cruel or demanding, but is instead made with the utmost regard for the viewer, conveying integrity, openness, and generosity. Respectfully but rigorously, the spaces of the paintings echo the intimate, perplexing, meaningful spaces of ourselves, our bodies and thoughts, the things we acknowledge and know and attempt to share but are often beyond words. In this work we encounter our own self-knowledge and contradictions, aspirations and ambiguity. By confronting the parts of Weathersby’s art we can experience something in bits and pieces as right and whole in many different configurations and encounters. This is Weathersby’s diamond, painting’s health, and Art’s payoff.

Chris Ashley
Oakland, CA
August 2011





###

Publication
3/1/2011


New American Paintings 2011 Northeast Edition features three recent KW paintings. Backward-facing painting "173"(Lnd)--detail above-- is on the back cover. The juror for this edition was Laura Hoptman, curator of painting and sculpture at the Museum of Modern Art, NY.

###

Exhibition
2/20/2011


179(twnR), detail, Ken Weathersby, 2010

POSTCONCEPTUALISM: THE MALLEABLE OBJECT opens March 10, 2011 at University of Maryland's Stamp Gallery.

Artist panel-- March 17, 2011, 6pm.

Essay by Mark Cameron Boyd (excerpt):
"POSTCONCEPTUALISM: THE MALLEABLE OBJECT explores the work of nine artists who individually extend and expand upon the theories and ideas of Conceptual Art in unique ways...

...Recent work by Ken Weathersby resurrects painting through a negotiation between the intellectual and physical properties of the support. Weathersby subverts the 'language of painting' through a three-dimensional manipulation that disrupts our perception by creating a 'no-space space.'..."


# # #

Residency
2/18/2011


studio aferro, Newark, NJ

My studio at home has become something of a puzzle with many complicated moving parts--work in progress and tools and books take up an increasing amount of the space.

Starting February 19, 2011, I'll be doing a residency at Aferro Studios in Newark, NJ. The residency goes until August of 2011, so for the next six months, I'll see what it's like to work a little differently. (Update: The residency was extended to a full year-- I'll be there until February of 2012.) It will be the first time since my loft in Williamsburg in the 90's that I'll have a dedicated, work-only studio space of over 1,200 sq. feet. The studio at Aferro should allow me to spread out and work on more projects at once, and on larger pieces.

Evonne Davis and Emma Wilcox run the program there, and they seem to have a good thing going, attracting many interesting artists from all over.


###

Curating
2/7/2011


sweet stain (detail), Bruce Stiglich, oil, acrylic, pencil & ink on canvas, paper, wood & cashmere

Summit, NJ--

Bruce Stiglich’s “Accumulation/Hallucination”
Kent Place Gallery
Monday, February 14 – Friday, March 11
Closing reception Friday March 11, 6—8 pm

Works in the show combine painting, drawing and the gathering of found objects to create complex, beautiful and densely painted collections of surfaces and images.

“Sweet Stain” (above), uses a wide range of means, including oil paint, acrylic, graphite, ink, wood, and, crucially, cashmere. A tiny scrap of stained cashmere formed the starting point of this complex work. Stiglich painted a portrait of the scrap of fabric, enlarged and copied his own painting, represented it again in another way, again and again, and each new view became a part of the whole. The cluster of representations contains mirrorings and repetitions, but also surprises that open up space for the imagination. It is a kaleidoscopic outgrowth of remembering and reflecting. Yet the subject (if that shred of stained fabric is really the subject) remains enigmatic.

Such a ceaseless return to a mute and mysterious object, and the possibly obsessive circling around it with art, brings to mind Citizen Kane’s rosebud, Proust’s madeleine, that little scrap of blue velvet so prized by Frank in David Lynch’s film. The point for me is that Stiglich creates an exciting, almost hallucinatory visual world, and the work resists collapsing into an easy interpretation.

New York Times art critic Ken Johnson has said, “Style in Bruce Stiglich's work is psychological, as the seemingly obsessive repetition of tiny marks that build up into dense vibrating textures suggest the feverishly compulsive activity of an inspired monomaniac. You may be reminded of Jackson Pollock's drip works or folk artists who are driven to decorate their homes with countless polka dots or flattened beer cans.”

Bruce says, “My work is a compiling of personal history. I work in series. These series become installations. They span an extended period of time. It begins with a discovery of found images, objects and doodles that to me seem incomplete. The process of completing the images is self referential in nature.”

Bruce Stiglich’s art work has been seen in numerous exhibitions in recent years in New York City and the New York area, in Pennsylvania, and in Miami, Florida. He currently teaches at Parsons School of Design, and has also taught at Pont-Aven School of Art in France, and at the State University of New York. He has been a curator of several art exhibitions at MyPAC, in Miami, FL.

Kent Place Gallery
42 Norwood Ave.
Summit, NJ 07902

###

Exhibition
1/13/2011


THERELY BARE
(curated by John Tallman and Ron Buffington)

January 14-February 15, 2011

Reception:
Friday, January 14, 5:30pm - 8:00pm

Kate Beck (usa)
Alan Ebnother (usa)
Kevin Finklea (usa)
Billy Gruner and Sarah Keighery (aus)
Jeffrey Cortland Jones (usa)
Michael Paul Oman-Reagan (usa)
Lorri Ott (usa)
Leopoldine Roux (belg)
Clary Stolte (nd)
Lars Strandh (nor)
Richard Van Der Aa (aus/fr)
Iemke Van Dijk (nd)
Ken Weathersby (usa)
Guido Winkler (nd)
Lain York (usa)

THERELY BARE, an exhibition of non-objective art curated by John Tallman and Ron Buffington, will feature the work of 16 artists from around the world, including the United States, France, Belgium and the Netherlands.
Working in a style sometimes called reductive, these artists share a subversive approach to the traditions of painting. The exhibition title is wordplay, an inversion of “barely there.” It also hints at the curatorial premise of the exhibition. The abstract paintings in the show are explicitly physical and tend to have a forthright facture and presence, but also work within the means of painting itself to obfuscate, conceal or contradict expectations. In this sense, the work is hiding in plain sight. THERELY BARE challenges typical modes of viewing and raises questions about perception itself.
The curators, both professors at the University of Tennessee, Chattanooga, curated this exhibition specifically for AVA , but it will also be traveling to Zeitgeist Gallery in Nashville, and the Art Gallery of Kent State University later in the year.

AVA Gallery
30 Frazier Avenue
Chattanooga, TN 37450

# # #


Exhibition
1/13/2011


detail, Syntax, Ken Weathersby, acrylic on canvas, 2005

VISUAL PHRASING
(curated by Virginia Butera)

January 20 - April 17, 2011

Reception: Jan. 20, 4:30 - 7 pm, (artist's panel, 7 - 8 pm)

Jonathan Allmaier, Patricia Bender, Robert Bohn, Collette Broeders, Carrie Crow and John Greiner, Bill Davis, Joseph Farbrook, Lesley Flanigan, Adel Gorgy, Meredith Re' Grimsley, Industry of the Ordinary (Adam Brooks and Mathew Wilson), Marty Jonas, Patti Jordan, Meg Klim, Liz Lee (Lake View, So Yoon Lym, Claire Marcus, Christina Massey, Gail Morrison-Hall, Jen Pepper, Tristan Perich, Mary Pinto, Debra Ramsay, Susan Reedy, Rocco Scary, Karen Shaw, Sam Smith, Jamie Marie Waelchli, Ken Weathersby, Mark Wojcik, Jing Zhou, Sue Zwick

VISUAL PHRASING is part of a four-part project combining art, music, dance and poetry collectively called THE PHRASE IN ART.

It is funded in part by a grant from the National Endowment for the Arts (NEA).


Therese A. Maloney Art Gallery
College of Saint Elizabeth
2 Convent Road
Morristown, NJ 07960


###

Artist Talk
12/7/2010


Wednesday, December 8, 2010
Sarah Lawrence College Department of Art

A talk about painting by Ken Weathersby, with images.

###




SEVEN - Miami
11/10/2010


I'll be showing new paintings at SEVEN - Miami
with Pierogi Gallery Nov. 30 - Dec. 5, 2010.

SEVEN: Pierogi Gallery, Hales Gallery, Ronald Feldman Fine Arts, BravinLee Programs, Postmasters Gallery, P.P.O.W and Winkleman Gallery in the Wynwood District, for art fair week in Miami.


# # #

Curating
10/22/2010


But Not Tonight, Jeffrey Cortland Jones, Enamel on acrylic panel, 2 parts, 8” x 17”

Summit, NJ-- The Kent Place Gallery will present an exhibition of art by Jeffrey Cortland Jones from Friday, October 22 – Friday, November 19, 2010. There will be a reception at the gallery from 6-8 pm on Friday, October 22.

Jones’ paintings at Kent Place will be a new body of work, all dated 2010. These new abstractions display a powerfully refined language of material, surface and gesture. The artist works on relatively small sheets of smooth and reflective plexiglass. He applies enamel paint to cover, edge, mark or blur the surfaces. By doing so, he continually unfolds a multiplicity of expression and play within a rigorous and serious vein of abstract painting.

In describing his own thoughts about his paintings, Jones offers the following: “Painting is simply: obsessive, correcting, locating, apprehending, pigment, fog, field, continuous, resistance.” This list suggests Jones’ intense interest in the processes of making the work.

Pairs of Jones’ painted panels are exhibited together as one artwork. Presenting a painting in two parts, setting its parts side by side as a diptych, has a long history in western painting, and may bring up ideas of contrasting opposites, such as in Medieval parallel depictions of heaven and hell. Closer to our time, Jones’ two-panel pieces here might recall minimal artworks by Donald Judd (an artist who also used plexiglass), artworks which, like these, juxtaposed carefully weighted doses of similarity and difference in similar repeated units to great effect.

According to gallery director Ken Weathersby, “There is an exciting dynamic in these works between transparency, translucency and opacity. Partly through the development of that dynamic, there is an important, shifting balance between atmosphere and object. We tend to want to see through or into the space in paintings. That is part of what painting inherits from its past role as a window onto a fictional world. Jones’ paintings raise that history in a way with their use of a transparent and reflecting surface. But, then again, our view is obscured, our attention is brought to the fact of the material, of the object. We feel we are getting a partial view, maybe a glimpse, like a quick look out the window of a fast moving car, but we never see more than what we could touch.”

Jeffrey Cortland Jones is an Associate Professor of Art at the University of Dayton, in Dayton Ohio. He has exhibited widely. His recent exhibitions include solo shows in Oakland, CA (Some Walls, 2009), Indianapolis, IN (Christopher West Presents, 2010), and many group shows nationally and internationally including shows in Los Angeles, New York, Chicago, Philadelphia, Buenos Aires, and Berlin.

Kent Place Gallery is on the campus of Kent Place School, 42 Norwood Avenue, Summit, NJ. Gallery hours are Monday – Friday, 9:00 am to 4:00 pm. For more information call (908) 273-0900, or visit www.kentplace.org.

# # #

Curating
9/17/2010


Winter Beach, Polina Barskaya, watercolor on paper, 23" x 27"

Summit, NJ-- Kent Place Gallery will present an exhibition of art by Polina Barskaya from Wednesday, September 15 through Friday, October 8, 2010. There will be a reception for the artist from 6:00-8:00 p.m. on Thursday, September 23.

Barskaya’s exhibition will be comprised of expressive water color and ink paintings on paper, some quite large. Her subjects are individuals and groups of figures drawn from her experience between and within two cultures.

The artist has said, “I was born in Ukraine in 1984, which was still part of the Soviet Union. When I was 4 years old most of my family immigrated to the United States as political refugees… I grew up in Brighton Beach, a predominantly Russian-Jewish neighborhood in Brooklyn… American television was a big influence on me. My reality was defined by Old World Soviet-Jewish mentality and New World American values and freedoms… I am exploring my own history.”

Barskaya’s paintings show the influence of expressionism, drawing emotions of pathos and intrigue, along with a bit of kitsch humor, from her sensitive, lush presentation of the bodies, clothing, faces and hands of her subjects. She also develops implications of narrative through the relationships played out within paintings, and through spatial compositions that are informed partly by her interest in film. She has taken a keen interest in the complexity of character and situation in the works of Godard, Fellini, Almodovar and Woody Allen. She has said, “…one goal I have is to be able to do what a filmmaker does, only with paint.”

The artist is a recent graduate of the MFA program at Pratt Institute. Her work has previously been included in group exhibitions at Laba Gallery, Steuben Gallery, The Water Street Gallery and Digital Sandbox Gallery, all in New York City.

Kent Place Gallery is on the campus of Kent Place School, 42 Norwood Avenue, Summit, NJ. Gallery hours are Monday through Friday, 9:00 a.m. to 4:00 p.m. For more information call (908) 273-0900.



# # #

Upcoming Exhibitions
9/6/2010


drawing 102 (detail), 2010

CENTENNIAL EXHIBITION
USM Museum of Art
Hattiesburg, MS
Oct. 21 - Nov. 20, 2010




AQUA ART FAIR
with Horse Trader Projects
Miami
Dec. 1 - 5, 2010




THERELY BARE
traveling show
curated by John Tallman and Ron Buffington

THERELY BARE@
AVA Gallery
30 Frazier Ave
Chattanooga, TN 37450
423-265-4282
January 14, 2011 – February 25, 2011
Opening Reception: Friday, January 14,
5 to 8pm

THERELY BARE@
Zeitgeist Gallery
1819 21st Ave S
Nashville, TN 37212-3705
(615) 256-4805
March 3, 2011- April 2, 2011
Opening Reception: TBA




POSTCONCEPTUALISM: THE MALLEABLE OBJECT University of Maryland Stamp Gallery curated by Mark Cameron Boyd
March 7 - April 8, 2011


# # #

Exhibition
5/9/2010


PERFECT MISMATCH
Ken Weathersby solo show
Pierogi Gallery

May 28 - June 27, 2010
(reception May 28, 7 - 9 pm)

Pierogi is pleased to present the first New York exhibition of Ken Weathersby's paintings. These are paintings of intense, elegant grids of primary color that subtly invert expectations in a number of ways. While some of the carefully penciled and painted canvases simply display their colorful patterns, others, in whole or in part, are turned to face the wall. Several have cut-away sections, which have been replaced by fitted inset panels painted with grids that either mimic or contrast with the surrounding canvas. The exhibition also contains a number of two-sided paintings, which may be flipped and re-hung during the course of the show to expose a hidden view. Another painting is set flush within a carved-out hole and is situated within, rather than hung on, the surface of the gallery wall.

The paintings in the show are related in feeling to minimal and monochrome abstract painting, presenting color and materials matter-of-factly, but according to the artist they were also partly prompted by the work of 15th century Sienese painter Giovanni di Paolo: “Giovanni's works are full of contradictions, full of visual opulence but also of things withheld.”

Weathersby's paintings are simultaneously conceptual and visual. In his essay “Malleable Objects,” Washington DC area curator Mark Cameron Boyd has referred to Weathersby as a “post-conceptual artist”, one whose work “addresses missed theoretical opportunities inherent in object-making.” This exhibition as a whole and the individual works within it are oriented to create a visual play of optical experiences, but also a particular kind of mental or conceptual engagement. According to the artist, “Paintings are visual objects. Usually we think of the 'object' part as supporting the 'visual,' of the wooden stretcher and canvas as just being there to hold up the image that we are meant to see. But those two different aspects can play with or against each other to open other thoughts or yield different problems. When the painting not only presents, but also denies pleasure or information, it complicates things. It can require some deciphering. It must be held in the mind as well as seen.”

Ken Weathersby received an MFA in Painting from Cranbrook Academy of Art in Detroit. His work was recently included in The National Academy of Art Museum's 183rd Annual: An Invitational Exhibition of Contemporary American Art in New York and in Postconceptualism at Moderno in Washington, DC. His paintings were featured in the Mid-Atlantic edition of New American Paintings. He is the recipient of a Mid-Atlantic Arts / New Jersey State Council on the Arts Fellowship in Painting.


PIEROGI
177 North 9th Street
Brooklyn, NY 11211
T. 718.599.2144
F. 718.599.1666
E. info@pierogi2000.com
www.pierogi2000.com


# # #

Auction
5/9/2010


157(j) will be part of Los Angeles Contemporary Exhibitions' 2010 benefit auction, selected by David John Dick (of youhavebeenheresometime) along with art by these four other artists:

Matt Connors
Ian McDonald
William J. O'Brien
Ivan Terestchenko

Public viewing at LACE beginning May 7
Auction May 20, 2010
www.welcometolace.org/auction/
www.youhavebeenheresometime.blogspot.com


# # #

Exhibition
3/22/2010


CONTINUING COLOR ABSTRACTION

A group show curated by Rella Stuart-Hunt.

Exhibition: April 13 - May 8, 2010.

Reception: Thursday, April 15, 6 - 8 pm.

THE PAINTING CENTER has moved into its new space:
547 West 27th Street, NY, NY.

www.thepaintingcenter.org
212-343-1060
director@thepaintingcenter.org


# # #

Curating
2/16/2010


Crying (contemporary caveperson), Miyuki Tsushima, detail, overall 6” x 4”, 2008

SEE YOU THERE / Miyuki Tsushima at Kent Place Gallery

Summit,NJ -- The Kent Place Gallery will present an exhibition of art by Miyuki Tsushima from Friday, February 12 – Friday March 12, 2010. There will be a reception for the artist from 6-8 pm on Friday March 5.

Tsushima’s installation includes paintings, objects and printed images. The whole space of Kent Place gallery becomes the canvas for her work. Painted, drawn and found images of animals, shooting range targets, and humans, including Tsushima’s “contemporary caveperson” figures are placed together in scenes that suggest multiple stories and evoke emotion. The “contemporary caveperson” refers to an ongoing motif in Tsushima’s work, a set of fictional characters who struggle to come to terms with and survive the difficulties and complexities of the world.

According to Kent Place Gallery Director Ken Weathersby, Tsushima’s work is evocative on a number of levels. “In formal terms, her work ranges widely. One element of this is her very loose, gestural marking, which is expressive, and seems to describe a space or an atmosphere. At the same time and sometimes combined with this, there are beautiful, extremely delicately rendered small drawings and paintings, so sensitive, and also very controlled. And then there are found elements, including printed images like shooting range targets with the silhouettes of small animals. All of these elements work together. The installation as a whole raises thoughts about relationships and alienation, perspective and identity. The show makes room for emotional response and empathy, but in an open-ended way. This is a beautiful and thought-provoking exhibition.”

Miyuki Tsushima grew up in Tokyo and attended an all-girls high school. She currently lives and works in New York City. She holds an MFA in Fine Arts from The School of Visual Arts in New York, and a Bachelor of Law from Keio University in Tokyo. She is a recipient of the Aaron Siskind Memorial Award. She has exhibited her art in New York and internationally.

Kent Place Gallery is on the campus of Kent Place School, 42 Norwood Avenue, Summit, NJ. Gallery hours are Monday – Friday, 9:00 am to 4:00 pm. For more information call (908) 273-0900, or visit www.kentplace.org.

# # #

Curating
10/14/2009


Familiar Faces, the month of january, 2009 (installation view at Kent Place Gallery), HTML drawings by Chris Ashley
courtesy of George Lawson Gallery

“A FEW MONTHS” CHRIS ASHLEY AT KENT PLACE GALLERY

Summit, NJ -- Kent Place Gallery will present "A Few Months" an exhibition of new art by Chris Ashley, from Monday October 19 to Friday November 20. There will be a reception from 6 to 8 pm on Friday October 23.

Chris Ashley produces beautiful, jewel-like colored drawings. He creates a fresh drawing, each one a new and unique idea, every single day. His medium for this daily discipline is HTML (Hyper Text Markup Language), a digital process not usually associated with fine art in the sense of traditional painting and drawing. Ashley’s work shows that it can be an ideal medium both for aesthetic delight as well as endless invention.

This ongoing string of artistic variations is made to exist primarily within a digital world, since HTML is native to the internet. For years now the drawings have been published daily on his blog, “Look, See—“ (http://looksee.chrisashley.net/), but for this exhibition at Kent Place Gallery, Ashley presents five months’ worth of carefully printed images of his HTML works, which will be displayed in the gallery grouped in five large blocks, one block on each wall of the gallery, like five calendars. This provides the chance to see the images simultaneously, note the evolution of Ashley’s ideas, and compare work produced at different times.

According to gallery director Ken Weathersby, “Ashley is also a fantastic abstract painter in the traditional sense (with paint on canvas), and knows art history and contemporary art. His work with HTML is so interesting and such a unique project. I’m very excited to have it here at Kent Place Gallery. He has been working with this somewhat unusual medium for many years now, and in a totally focused way. Even though one might think that HTML presents only certain limited variables, Chris produces seemingly infinite surprises. I began visiting his blog daily some time ago and was often moved to leave comments on particular works. When I selected the five months that appear here at Kent Place Gallery, I chose a range that I think displays that quality of the unexpected that I find in his art. For example, one of the months uses vintage photographs as a jumping-off point, bringing in an aspect of collage, and with a fantastic visual humor. Another one deals with invented caricatures of human faces in a way that touches on ideas of cartooning, of masks, of the grotesque, and also of Picasso and cubism. Chris is just very knowledgeable and wise about the history of image-making, of the long traditions of painting and drawing, and it shows in these witty and resonant digital pieces.”
Chris Ashley lives, makes art and teaches in Oakland, California. He has exhibited widely and frequently—his recent and upcoming shows include exhibitions at George Lawson Gallery in San Francisco, Townsend Center for the Humanities at UC Berkeley, Rhizome at the New Museum, Semantics Gallery in Cincinnati and the Marx Gallery in Covington, Kentucky. His artwork appears here courtesy of George Lawson Gallery, San Francisco, California.

Kent Place Gallery is on the campus of Kent Place School, 42 Norwood Avenue, Summit, NJ. Gallery hours are Monday – Friday, 9:00 am to 4:00 pm. For more information call (908) 273-0900, or visit www.kentplace.org.

# # #

Exhibition
8/19/2009


165 (wky - detail), 2009

THE REVERSE SIDE ALSO HAS A REVERSE SIDE

Ken Weathersby - Exhibition

Summit, NJ -- Kent Place Gallery will present an exhibition of new paintings by Ken Weathersby from Thursday, September 10, to Friday, October 9. There will be an artist’s reception from 6 to 8 pm on Thursday, September 10.

Kent Place Gallery
at Kent Place School
42 Norwood Avenue
Summit, NJ 07902 - 0308

Hours: Monday - Friday, 9am to 4pm
Phone: 908.273.0900


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Exhibition
7/6/2009


The Grid

August 19 - October 17, 2009
MP5³ - Milepost 5, 900 NE 81st Avenue, Portland, Oregon.

Opening reception: August 22, 7-9pm
Closing reception: October 17, 7-9pm

A group show curated by TJ Norris.

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Exhibition
4/8/2009


162(nfc - detail), 2008

Postconceptualism (curated by Mark Cameron Boyd and Fernando Batista), in connection with International Art Affairs.

Thursday April 30 through Saturday May 9, 2009 at Moderno, Washington, DC.

Reception: Friday, May 1 from 6-9pm.

“Postconceptualism” addresses art theory as posed by the original conceptual artists in a selection of contemporary works. Artists seen here approach significant issues of conceptualism through unique visions. Curators Boyd and Batista believe this exhibition presents individuals whose work extends conceptual art and continues its impact as Postconceptualism…

… Ken Weathersby’s paintings reveal the disregarded space behind a painting’s support in two-sided paintings which require a deciphering experience to perceive them…"

exhibition site:
Moderno
1939 12th Street NW,
Washington, DC, 20009.
Tel: 202.239.5819
Blog: www.theorynow.blogspot.com

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Exhibition
1/16/2009


157(J - detail, verso), 2008

New Jersey State Council on the Arts 2007-2008 Visual Arts Fellowship Exhibition.

April 10 through June 5, 2009 at Visual Arts Center of New Jersey, Summit, NJ.

Reception: Friday, April 24 from 6-8pm.

There is a catalogue for this exhibition.

Visual Arts Center of New Jersey
68 Elm Street
Summit, NJ 07901
Tel: 908. 273.9121

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Dialogue
10/31/2008


160 (detail--160 is invisible in this view), 2008

"Giddy Construction"

Brent Hallard, an Australian artist who currently lives and works in Tokyo, prompted a discussion about paintings 147 and 160. Read it in full at Visual Discrepancies. Click the image above to go there.

Hallard: "...I wanted to know how these giddy surfaces were constructed. Plus I was interested in the cut-a-way, the replace, and the sometimes hidden—the strategies and things that muck with the head as much as they do with the work and the reading..."

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Artist Talk
10/26/2008


"Musical" Painting (detail), ca.1989, Ken Weathersby

Tuesday November 11, 6-7pm
101 Recitation Hall
University of Delaware Department of Art

A talk about painting by Ken Weathersby, showing images and mapping some preoccupations, including fields, mazes, minigrids, and turnarounds.

This presentation is free and open to the public.

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Exhibition
10/23/2008


147 (detail), 2006

Korus Project, A group exhibition.

November 7 through November 20, 2008 at Korus House in Washington, DC. Reception November 7, 6-8pm.

November 21 through December 3 at the Hun Gallery in New York. Reception November 21, 6-8pm.

The Hun Gallery is at 12 West 32nd St., 3rd Floor, NY, NY 10001
tel. 212.594.1312
hungallery.org

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Exhibition
8/26/2008


Maze 1 (detail), 1999, Ken Weathersby

Calculating Art: Mathematics in the Visual Field, on view from September 4 through October 8, 2008.

Therese A. Maloney Art Gallery at the College of Saint Elizabeth, 2 Convent Road, Morristown, NJ 07960

Opening reception: Thursday, September 4th, 4:30 to 7pm in the Maloney Art Gallery.

A group show curated by Dr. Virginia Butera.

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Art for Obama
8/17/2008


For All, transparent film, paint, wood, paper, available light, 2008, Michele Alpern (photo by kw)

MoveOn.org Political Action and Obey Giant are offering artists a chance to show at the Democratic National Convention in Denver. The call is for any 2D or 3D creation that exemplifies the positive vision of Obama's campaign. (Good luck competing with the beautiful entry above.) The deadline is 11:59 a.m. EDT on August 18, 2008. The top five pieces, as determined by MoveOn's independent panel of judges (Shepard Fairey, Moby, Thurston Moore, Nancy Spector, DJ Spooky, Cydney Payton, Ross Bleckner, April Gornik, Eric Fischl and Laura Dawn) will be shown at the Manifest Hope Gallery show at the Democratic National Convention in Denver. The top 30 pieces will be auctioned on eBay with proceeds going to progressive causes.

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Artist-on-Artist Action
7/2/2008


157(J - detail), 2008

J.T. Kirkland's new project at Thinking About Art.

Ken Weathersby (and a number of other artists) review each other's art. The works and and the words began posting the week of July 7. Click the image above to see the review of 157(J).

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Publication
3/26/2008


New American Paintings #75 2008 Mid-Atlantic Edition features KW paintings 150 and 153 (murder of abel).

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Exhibition
3/23/2008


The National Academy Museum's 183rd Annual: An Invitational Exhibition of Contemporary American Art, on view from May 29 through September 7, 2008.

From the museum's press release:
"A two-sided painting construction by Ken Weathersby offers subtle changes in form, from one side to the other, as the hidden surface is revealed to the viewer."

"This Annual consists of exceptional contemporary works by newly emerging artists and established artists. The annual invitational exhibition offers an opportunity to the public to preview new artistic directions in contemporary American art. Included in this exhibition are artists Jose Bedia, Leonardo Drew, Ming Fay, Maria Elena Gonzalez, Steven Holl, Ben LaRocco, David Reed, David Row, Sean Scully, Barbara Takenaga, Don Voisine, James Wines, Betty Woodman and many others. Selections were made from over four-hundred recommended artists submitted for consideration and chosen by a curatorial committee comprised of a panel of seven prominent National Academicians.

A catalogue documenting trends, process, and media explored by the artists who are participating accompanies this exhibition. Written by art historian and Artist Membership Director, Nancy Malloy, this important resource includes an introduction by the Academy's President, Susan Shatter.

A separate awards committee of National Academician's will also give away over $100,000 in prizes."

The National Academy Museum: 1083 Fifth Avenue, New York, NY 10128, Tel: 212.369.4880

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Fellowship
2/15/2008


Ken Weathersby awarded 2008 Mid-Atlantic Arts Foundation / NJ State Council on the Arts Fellowship in Painting.

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Interview (in Luna Park Review, archived winter 2008 issue)
1/16/2008


Hootenanny Number One, 1994-- cover by Ken Weathersby.

RE: HOOTENANNY

Founding editors David Keith and Ken Weathersby talk about the unique, handbound literary and artists' journal that brought together a large and strange assortment of visual artists, poets, cartoonists, scientists, novelists and others. In the mid-90's Hootenanny could be found in the Whitney and Guggenheim museum stores and bookstores around New York as well as stores in Paris, Boston and a few other cities. Luna Park's interview traces the short history of Hootenanny.

Published to coincide with the launch of Luna Park Review's new web site,
www.lunaparkreview.com
January 31, 2008.

Ken Weathersby is also the featured visual artist for this quarterly issue of Luna Park.

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Curating
12/13/2007


Installation view--three works by Jeremy Dyer.

AGAINST NATURE AT KENT PLACE GALLERY

Summit, NJ -- The Kent Place Gallery will exhibit recent art by ten professional artists whose works address aspects of conflict between humans and the rest of nature. The exhibition, titled "Against Nature," was curated by gallery director Ken Weathersby and will be on display from January 10 to February 6, 2008.

The works in the show range from photographs by Jeremy Dyer, which capture a dark, anxious sense of landscape, to paintings by Jonathan Allen that superimpose human interventions, adventures and errors in layers upon colorful fields.

Jesse Patrick Martin's drawings evoke dazzling and beautiful, but monstrously hybrid, forms. They seem to be composed of mineral, plant and possibly animal parts and imply our contemporary concerns with genetic engineering, as well as harking back to images in J. K. Huysmans' decadent French novel, Against Nature. Huysmans' literary work was one inspiration for the exhibition. According to Weathersby, "In the novel, the protagonist is in pursuit of the artificial in all experience. He is rebelling against everything that is considered natural. He develops a preference, which he avidly pursues, first for artificial flowers, and then, when that interest becomes exhausted, for real flowers that are so strange that they seem artificial. In all cases, he believes that ordinary nature is inferior. The horror of nature and the sentimental love of nature, both of which Huysmans' book address, run through modern culture and have surfaced in many forms. We find ourselves now in a time when, because of global warming and many other concerns, these issues emerge in a new way. This exhibition is intended to address that fact."

Delicate beauty is also represented in the exhibition in photographs by Miwa Koizumi. Her images of translucent, floating creatures become tempered with irony when one realizes that the "creatures" are fashioned from bits of plastic bottles and other litter.

Ernest Concepcion's large drawing "A Desire for Conflict (or how I managed to transform myself and stay the same)" evokes a frantic sense of conflict in a field populated with a multitude of clashing figures, while Peter Jacobs' richly textured painting "Marching to Extinction" gestures toward the final and only known evolutionary end-point for all species, including our own.

Both Adam Grossi and Amie Robinson locate a front line of conflict closer to home. Robinson's painting imagines animals mysteriously placed and acting within the space of an ordinary house in "Salvaging What Is Left". The houses and water symbols in Grossi's painting "Precipitation Zone" seem to raise issues of sprawl, the suburbs and ground water.

Michael Wyshock's video "Waterbang" is a poetic, psychedelically patterned, constantly looping work that layers real-world imagery and movement. It is a study in building intensity and complication.

Steve Jarvis' "Ark II Project" suggests (and plans for) a radical solution to our troubled relationship with our planet. The diagrams and documents he displays prepare for saving whatever animals survive our self-destruction as humans, and include drawings of protective suits tailored for chimpanzees and other creatures.

An artist's reception will be held Friday, January 18 from 6:00 to 8:00 p.m. in the gallery. The exhibit and reception are free and open to the public. The Kent Place Gallery, located in Summit on the campus of Kent Place School, is open from 9:00 a.m. to 4:00 p.m., Monday through Friday, or by appointment with Ken Weathersby, Director. For more information please visit www.kentplace.org. Jonathan Allen's work seen in this exhibition was supported by grants by the George Sugarman Foundation and the Puffin Foundation

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