Chris Verene

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Chris Verene’s first show at Postmasters will present over forty photographs made during the past twenty-six years. This landmark exhibition of documentary storytelling chronicles a group of closely-knit characters from the photographer’s family and their rural Illinois community. The photographer is also one of the characters– his blood bonds and bonds of friendship within the small town are carefully spelled out in simple handwritten captions atop the colorful pictures. Verene’s new book, “Family,” published this summer, contains many of the images on view – it opens with his cousin Candi’s divorce. Candi was made famous when her wedding picture appeared on the cover of Verene’s first book ten years ago. Both husband and wife were fired in the Maytag factory closing described in President Obama’s first address to the United States in 2004 and in the 2010 State of the Union. Theirs is not the only family torn apart by the economic struggles of the country, as Verene documents other similar stories. The exhibition will also bring to light recent developments in the artist’s intimate life, as his young child, Nico, Brooklyn-born and half-Puerto Rican, appears throughout the latest photographs, playing with his cousins and newfound friends in Galesburg. This show will offer an extraordinary, inspiring, hopeful, and sometimes sorrow-filled view into the true personal stories and private lives of the artist’s immediate and extended family in their small community as photographed throughout a lifetime in economically depressed Galesburg, Illinois. Museums currently showing Verene’s work include The Tate Modern, The San Francisco Museum of Modern Art, and The New Orleans Museum of Art.

Postmasters Gallery

Cordy Ryman @ DCKT Contemporary

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DCKT Contemporary is pleased to present CORDY RYMAN’s second solo exhibition with the gallery. RYMAN manipulates and reconstitutes an inherited visual language, defining himself in relation to it. His intuitive and spontaneous process is propelled and determined primarily by the characteristics of his media. Manipulating materials such as wood, metal, velcro, Gorilla Glue, staples and scraps from his studio floor, RYMAN’s assemblages are physical and humorous.

A number of new works created for this exhibition, including Trapped Wave, are recycled from Third Wave, a monumental installation work exhibited in RYMAN’s first show with the gallery. The careful consideration of the painted wood and its contours guides the artist in the geometric patterning of his reconstructions. RYMAN’s paintings and sculptures address elements of architecture with rich texture and a vivid color palette. RYMAN’s process allows the work to dictate its own direction and evolution, oftentimes referring back to other pieces or ideas and often referencing the materials used.

RYMAN also works in an architectural mode where he creates a dialogue between his work and its surroundings. These spaces can be specific in location or as common as a 90 degree corner. In the sculptural installation Red Bricks, RYMAN stacks and steps multitudes of painted wood chunks to envelope the gallery’s front window facing wall. Wrapping around the existing wall and facing into the gallery is Scrap Wall, a year’s worth of leftovers monumentally recycled. The works respond to the unique aspects of their placement in a three dimensional manner. The space in many ways becomes a canvas.

RYMAN’s previous solo exhibitions include Kavi Gupta Gallery (Chicago, IL), Mark Moore Gallery (Santa Monica, CA) and Lora Reynolds Gallery (Austin, TX). Previous group exhibitions include Aberrant Abstraction, Nerman Museum of Contemporary Art (Overland Park, KS), One More, Esbjerg Museum of Modern Art (Esbjerg, Denmark) and Greater New York 2005 at P.S. 1 Contemporary Arts Center (Long Island City, NY). His work is included in the Microsoft Art Collection (Redmond, WA) and the Rubell Family Collection (Miami, FL).

DCKT Contemporary

“UNTITLES”

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Newman Popiashvili Gallery is pleased to present a group exhibition of eight artists curated by Michel Auder. As an active visiting artist and professor in several art schools in the US and abroad, Auder has encountered these talented artists in different points of their careers. He has selected the work for the show without trying to unite them under a theme or preconceived idea. It is a recollection of “good work” that he has seen, thus the title of the show – Untitles. The exhibition brings together artists working in all media and styles as well as varying explorations from personal histories to the social critique.

Michael Stickrod represents a convergence of the two perspectives: personal and social. Often taking the form of vacation movies, family photographs, crafted pottery and other “amateur” practices that tend to be relegated to attics and basements, Stickrod’s artworld pedigree, completely flips how these objects are read. Laura Marsh’s work further extends the cultural portrait of our society through combining imagery from advertisements. The artists inserts advertising media into drawings, sculptures, paintings and video, thus augmenting commercial images and stretching the life of everyday materials to manifest characters that bare an objectified gaze. The Korean artist Myeongsoo Kim explores an interest in defining the cowardliness, which may act as a self defense mechanism, accompanied by a cynical perspective of oneself and the surrounding world. The artist’s frustration in dealing with the gap between personal beliefs and the respective responsibilities expose a materiality of its own through his work. Sam Anderson’s figurines refer to imagined and existing cultural narratives. In the exhibition, the sculpture Sylvia is both fragile and combative and the warrior stance adds tension to the work. Caroline May’s photographs focus on the customary re-enactment of stereotypes of masculinity that are commonly embraced by both heterosexual and gay mainstream culture. May utilizes photography as a commentary on the reinvention of identity. The Brooklyn based artist Mariah Robertson composes spontaneously with collaged negatives and other objects on irregularly cut sheets of photo paper. The artist often employs processes from “the age of extinction,” films, chemistries and equipment that are being discontinued. Matt Connors’ paintings also harken back to earlier artistic modes of production and the refreshingly simple abstract canvases are, in fact, formally quite sophisticated. Arild Tveito questions ideas of appropriation and originality versus the facsimile. The foot sculpture featured in the show is cast from an Auguste Rodin sculpture that is on display in Oslo, Norway. The actual sculpture was relegated to a non-focal part of the city due to its questionable authenticity, Tveito, secretly cast the foot of the sculpture and reintroduced an “original” art work into the artistic community.

Newman Popiashvili Gallery

Cody Critcheloe

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The Hole is pleased to present BOY, an exhibition by Cody Critcheloe and his band SSION. The exhibition includes video, painting, drawing, and installation and will fea- ture special guests Peggy Noland and Jaimie Warren. The sum of these parts could be called “Kansas City Gone Wild”: these artists are all part of an exciting new energy coming from this city and we want to show New Yorkers this big mess in the Midwest!

Cody Critcheloe is the mad mustachioed front man and creative ringleader of SSION: a band pro- nounced SHUN like the word PERCUSSION and FASHION and EXPLOSION. SSION is a collaborative confluence of creative kids in Kansas City. This queer punk performance art band just came out with BOY, a feature length movie documenting Cody’s life as a small town punk kid addicted to junk food dreaming of stardom who becomes a glamorous pop star with the help and hindrance of a gaggle of crazy dames. Archly witty and abounding and self-aware parody and pop-cultural collage, this film composites various music videos Cody made for SSION songs from 2007-2009 and links them together with mockumentary interviews, tour footage and cultural critique. Shitty green screen and hand- made painted cardboard props abound, as do hot fags, hot dance moves, and smoking hot costumes by Peggy Noland.

Peggy! She is a fashion designer on the verge. Her outrageous spandex concoctions put her on the map a few years ago outfitting bands CSS and Tilly and the Wall; she once sent me some apple print scratch and sniff leggings that really smelled. She has a shop in Kansas City that she does a com- pletely different crazy fashion/sculpture installation every few months and she will be building a pop up shop for the show.

I met Peggy a couple of years ago through Jaimie Warren, or “Madonna” in the SSION movie: she takes self-portraits looking and being weird that cut right to the heart of being young and bored and making your own fun in America. She co-runs a TV and community development show called Whoop Dee Doo that is another organizing element in the Kansas City creative community that includes Peggy and Cody and a whole lot more.

Cody will be installing his exhibition like a sweet hangout zone and video lounge. Peggy will have a fashion boutique in the front and Jaimie will have a photo installation in the showroom. SSION will do a one-night blowout performance in September and Peggy will present her new spring sportswear during Fashion Week. Stay tuned for details!


THE HOLE