Saturday, May 24, 2014

AB FAB 2 @ Mulherin + Pollard

AB FAB 2
@
Mulherin + Pollard

featuring 
Eric Sall, Sarah Bednarek, Jared Clark
Robert Otto Epstein, Pinkney Herbert
Tom Condon & Sandra Luckett


all exhibition dates: May 29 - June 28, 2014 


for more information on these exhibits email John Pollard, john@mulherinpollard.com

Mulherin + Pollard
187 Chrystie St. NYC, 10002 
with a back entrance at the end of Freeman Alley 
212.967.0045

gallery hours: 
Wed. - Sat. 12-6pm & Sun.1-6pm

Brian Novatny, Sailor's Diary opening Thursday May 29, 2014 at Mulherin + Pollard


Mulherin + Pollard is pleased to present Sailor's Diary, a new exhibition of paintings and drawings by Brian Novatny.

Novatny's artworks explore the tempestuous storm-tossed seas of historical tumult and of war and disasters both private and public in a manner that simultaneously reflects the full sweep and powerful grandeur of their subject matter as well as reveals the astonishingly intricate and painstakingly rendered gradations of his stark palette, mostly comprised of a rich tonal fluctuation of black, white, and quiet grays, as well as muted earth tones. 

His figures are like fragments of the past and present struggling to remain whole against the devouring waves and foreboding atmospheres exploding forth at the compositional centers of his pictures, themselves surrounded by the uncertainty of a blank white void. His solemn portraits of human fragility at times recall the spectral disquiet and mystery of 19th century photography or the peace and profound silence of an undisturbed sea torn asunder in paroxysms of exploded, and explosive, catharsis. His pictures depict a floating, gravitation-less fictive space where his subjects exist as lost, dislocated figures caught in forgotten human dramas at once distant yet universal and hauntingly familiar- a place where the fervent echoes and shadows of time resound over the immensity and vast stretches of a dark and mute sea.

Novatny was born in Wadsworth, OH in 1964. He earned his BFA at the Columbus College of Art and Design in Columbus, OH in 1987 and his MFA at the Yale University School of Art in New Haven, CT in 1990. His work has appeared widely in solo and group shows in galleries and museums from New York, New Orleans, Atlanta, Los Angeles to Berlin and Beijing. His work is in numerous museum collections including the Memphis Brooks Museum of Art, the Knoxville Museum of Arts, and the Central Academy of Fine Arts in Beijing. He currently lives and works in Brooklyn, NY.




Mulherin + Pollard
187 Chrystie St. NYC, 10002 
or entrance at the end of Freeman Alley 
212.967.0045


Saturday, February 15, 2014

ALEX KVARES , CRITIC PICK AT ARTFORUM, FOR OUR SHOW AT MULHERIN + POLLARD (NYC)

Alex Kvares : All My Work Is Posthumous
at Mulherin + Pollard ( which is ADA's sister gallery in NYC)

January 17 - February 16, 2014

ARTFORUM critic pick  by Lilly Lampe. Read it here >>>>


See Alex Kvares' web page at Mulherin + Pollard here>>>>








Mulherin + Pollard is proud to announce our solo exhibit of drawings by Ukranian born artist Alex Kvares.

Marked by a staggering amount of detail and an impossible amount of lines, Alex Kvares drawings radiate a quietness and an equally hypnotic power. In one series of works, Kvares uses an old book of graph paper, working grid by tiny grid to make what appear to be intricate maps or blueprints of some magnificent, cosmic creation. there's a system within these beautiful works, which seems adhered to and subsequently ignored, each careful decision can be felt, as well as the hours spent creating them. Another series, like the work pictured above, feature creatures, hikers, campers drawn with his signature delicate touch. Freed from the confines of the graph paper, these imaginative, figurative drawings combine dark humor and fantasy while retaining the awe and beauty of the grids. Another new series, Kvares presents brightly colored tri-cornered hat wearing soldiers mingling with nature, celebrating, sharing banal, comradely moments while in others soldiers seem to be suffering something more sinister. Drawn with a much sketchier, immediate style, these satirical, comical drawings revel in the nonsense found in ceremony, politics, life and war. 

Alex Kvares received his BFA from the University of Kansas in Lawrence and an MFA from the University of Texas in Austin. His work has been exhibited at the Atlanta Contemporary Art Center, Josee Bienvenu Gallery and Mulherin + Pollard in New York, Steven Zevitas Gallery and Judi Rotenburg in Boston, the Contemporary Art Museum in St. Louis, the Minsk Museum of Modern Art in Belarus and the Southeastern Center for Contemporary Art in North Carolina, and others, and He's been included in several issues of New American Paintings.
He currently teaches at Pratt Institute, NY and lives in Brooklyn.


Wednesday, January 8, 2014

BURNAWAY.ORG REVIEW OF DEREK LARSON @ MULHERIN + POLLARD (NYC) THROUGH JANUARY 12, 2014

Derek Larson: Saf Aleph @ Mulherin Pollard
This is the text from the Burnaway.org review
by Tom Berlangero


 For several years, Derek Larson has approached painting, sculpture, and video from oblique angles, creating works that dance erratically between these media. The Yale grad and recent Hudgens Prize finalist, who is based in Statesboro, Georgia, turns his eye toward midcentury Color Field painting in his exhibition “Saf Alef,” on view at Mulherin + Pollard in New York through January 14. The exhibition’s title, borrowed from a 1959 Morris Louis painting of the same name, frames the work in relation to the specific materiality of paint.


 As visitors enter the modestly sized gallery, they are doused by light as they pass through one of Larson’s characteristic video projection/painting/sculpture hybrids. Wormwood Tea comprises a black painted panel leaning against the wall, bordered on the bottom by bundles of plaid and herringbone fabric and crowned by an aluminum panel in the shape of two smiling slimy faces. A projector throws light against a jerry-rigged mirror and onto the screen, yielding an acid-tinged animation of paintlike blobs descending ad infinitum. This combination of slapdash assembly and garish, glitchy imagery is characteristic of Larson’s work.


The artist makes the most of the small space. The show is peppered with fun spatial quirks. Double Bind, which was shown at the Hudgens Center last summer, is an imposing jagged work that sits dead center in the gallery and allows only a narrow passage to its left. Wedged between opposing walls, the work partitions the gallery and highlights its own ramshackle construction as the viewer crosses over to the other side. Projected onto the piece’s front side is a video showing the torso of a faceless man suspended amid a cloud of pixelated fruit, leaves, flowers and un-identifiable junk, flickering and floating. The video repeats silently on a short loop, generating a strange quietude at odds with the video’s chromatic palette.




A sense of ambivalence pervades the work as the artist liberally appropriates the images and forms of disparate aesthetic realms, ranging from high modernist abstraction to Windows 98-era screen savers. This ambivalence is especially pronounced in the artist’s engagement with Color Field painting. In addition to more overt, irreverent references to Louis’s poured paint, there are some subtle resonances between the painter’s material concerns and Larson’s application of the medium of light. Some of the most productive moments in the show occur when Larson allows light to spill over the edges of the shaped panels and onto an adjacent wall or accompanying monochrome panel. Never quite hitting a critical note in relation to Louis, the work vacillates between caricature and homage.
Larson’s wooden screens are more than passive surfaces for his animations. Their cartoonish contours shape their contents both formally and conceptually. Insinuating their edges into the work, Larson creates a tension between his undulating pixelated animations and the static two-dimensional forms that attempt to contain them. His video loops take their cue from animated .gifs in their brevity, those ubiquitous Internet artifacts that hover nauseatingly somewhere between static image and video. - by Tom Berlangero 


Friday, December 6, 2013