ADA is happy to announce that our artists Morgan Herrin and Bernard Martin will both be featured the Super Dutchess show Innocence at 53 Orchard St, New York, NY. Morgan Herrin will be in the First Rotation (Light), from July 31st - August 18th, and Bernard Martin will be in the Second Rotation (Dark), from August 19th - September 3rd, 2018.
More images and information on the Super Dutchess instagram and website.
The Super Dutchess Innoncence Press Release:
Super Dutchess presents Innocence, an exploration of William Blake’s poem “Auguries of Innocence” that intends to examine a borderless, nonhierarchical ecology through a two-part exhibition curated into works of dark and light. Blake utilized innocence as a subversive political engine for timely, cultural re-evaluation. With “To see a World in a Grain of Sand,” Blake was able to set up a series of statements bordering on vajrayana that can simultaneously entertain the micro and the macro. Interiority and accident are conflated with cosmic scales, examined fresh without presupposed judgment.
Rotation I (Light):
Carved out of wood is a woman with hooved feet resting her elbow on an axe. She is sitting on a pedestal that still has the caps of mushrooms growing on its side. Her feet rest on a human skull and it is unclear whether she is protecting it or displaying it like a trophy for us. She is a confused ecology, an indecipherable blend of human and nature, who’s loyalty to humankind seems ambiguous. Morgan Herrin’s Boudica is an apocryphal imagining of an almost recognizable lore.
Behind her is a painting of a textureless body, downloaded from the internet, executed in traditional technique by Emma Stern. The content of horny coders, she is an open source body without skeleton that is infantilized and overly sexual. Stern breathes life and charm into this fleshless girl; she indulgently rests on the bed, confrontational and refusing to disappear.
To the right, Greg Ito has painted a scene through a locked window of a sailboat heading towards the smoke stacks of a distant shore.
In the top of the space, Blake-like Gnosticism by the Woodstock troubadour Paul McMahon
hangs. A small diptych of an angel and a demon, inverted and flipped but still side by side. It is impossible to miss their similarity.
Rotation II (Dark):
Paul McMahon ’s piece still remains high above in the space. A blown up facsimile of a pulp comic book page hangs on the back wall. It is a painting by B ernard Martin, startling in its illusion. Allegorical and didactic, it is a moment of philosophy in an unusual format. Within this simple, narrative format, we learn to understand the circle of life and death in a comic book almost impossible to imagine.
To its left is a small painting by A na Milenkovic, an image of Poseidon considering a piece of coral. The god considers its creation, perhaps taken aback by its beauty and forgetting his hand in making it. To the right is a painting of a locked window, a candle sitting on its ledge. Within Greg Ito ’s scene, now a nocturne, it is impossible to tell if the rising smoke is from the candle inside or from the ominous, industrial island across the sea.
Super Dutchess Gallery | 53 Orchard St, New York, NY, 10002 | www.superdutchess.com
More images and information on the Super Dutchess instagram and website.
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| Boudica by Morgan Herrin at Super Dutchess |
The Super Dutchess Innoncence Press Release:
Super Dutchess presents Innocence, an exploration of William Blake’s poem “Auguries of Innocence” that intends to examine a borderless, nonhierarchical ecology through a two-part exhibition curated into works of dark and light. Blake utilized innocence as a subversive political engine for timely, cultural re-evaluation. With “To see a World in a Grain of Sand,” Blake was able to set up a series of statements bordering on vajrayana that can simultaneously entertain the micro and the macro. Interiority and accident are conflated with cosmic scales, examined fresh without presupposed judgment.
Rotation I (Light):
Carved out of wood is a woman with hooved feet resting her elbow on an axe. She is sitting on a pedestal that still has the caps of mushrooms growing on its side. Her feet rest on a human skull and it is unclear whether she is protecting it or displaying it like a trophy for us. She is a confused ecology, an indecipherable blend of human and nature, who’s loyalty to humankind seems ambiguous. Morgan Herrin’s Boudica is an apocryphal imagining of an almost recognizable lore.
Behind her is a painting of a textureless body, downloaded from the internet, executed in traditional technique by Emma Stern. The content of horny coders, she is an open source body without skeleton that is infantilized and overly sexual. Stern breathes life and charm into this fleshless girl; she indulgently rests on the bed, confrontational and refusing to disappear.
To the right, Greg Ito has painted a scene through a locked window of a sailboat heading towards the smoke stacks of a distant shore.
In the top of the space, Blake-like Gnosticism by the Woodstock troubadour Paul McMahon
hangs. A small diptych of an angel and a demon, inverted and flipped but still side by side. It is impossible to miss their similarity.
Rotation II (Dark):
Paul McMahon ’s piece still remains high above in the space. A blown up facsimile of a pulp comic book page hangs on the back wall. It is a painting by B ernard Martin, startling in its illusion. Allegorical and didactic, it is a moment of philosophy in an unusual format. Within this simple, narrative format, we learn to understand the circle of life and death in a comic book almost impossible to imagine.
To its left is a small painting by A na Milenkovic, an image of Poseidon considering a piece of coral. The god considers its creation, perhaps taken aback by its beauty and forgetting his hand in making it. To the right is a painting of a locked window, a candle sitting on its ledge. Within Greg Ito ’s scene, now a nocturne, it is impossible to tell if the rising smoke is from the candle inside or from the ominous, industrial island across the sea.
Super Dutchess Gallery | 53 Orchard St, New York, NY, 10002 | www.superdutchess.com
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| Bernard Martin, Meat with Mark, oil and acrylic on canvas, 63 x 49 inches, 2010 |
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| Morgan Herrin, Boudica, recycled lumber, 62 x 34 x 29 inches, 2014 |