UP EVERY EVENING

spring 2014

There is a poison in me.  It scratches at my fingertips and chokes the back of my throat.  It rides my thoughts and every action with a silent anger and it wants out.  It is a rage that sees destruction as a means to rebuilding.  Within the space of one second it wipes out this world while it makes a new one begin.  I look at you and force myself to smile a little, in my mind I see you collapse and vanish along with everyone and everything.  I have no heart, no lungs; my chest is so tight I can only mouth breath.  The few muscles I have left will close my eyes but sleep is impossible.  I go candy playing and I go rainbow chasing and I beg tomorrow to serve me better.

Laylah Ali, Untitled, 2006-7, ink and graphite on paper, 24 x 19 inches.

Laylah Ali, Untitled, 2006-7, ink and graphite on paper, 24 x 19 inches.

Laylah Ali was born in Buffalo, New York and earned an M.F.A. from Washington University in St. Louis in 1994.  Ali also studied at the Whitney Independent Study Program in New York and the Skowhegan School of Painting and Sculpture in Maine.  She was featured in solo exhibitions at the Museum of Modern Art, New York; ICA, Boston; Museum of Contemporary Art, Chicago; Contemporary Art Museum, St. Louis; Institute of International Visual Arts, London; Weisman Art Museum at the University of Minnesota; the Herbert F. Johnson Museum of Art at Cornell University, and MASS MoCA, among others, as well as showing her works at such exhibitions as the Venice Biennale and the Whitney Biennial. Laylah Ali is also a featured artist in the PBS series Art: 21—Art in the Twenty-First Century.  SEASON is grateful to Miller Yezerski gallery, Boston, for the loan of this work.

Dylan Neuwirth, Feeling Some Type of Way, 2014, neon, 45 x 5 x 3 inches.

Dylan Neuwirth, Feeling Some Type of Way, 2014, neon, 45 x 5 x 3 inches.

Dylan Neuwirth graduated from the University of Georgia, Athens in 2000.  He has had solo shows at Vermillion, Punch Gallery and Bumbershoot (Seattle) and On Main Gallery (Vancouver) as well as numerous group shows across the west coast.  He creates a variety of angst-filled artworks, many of which address themes of social alienation, apathy and a desire for freedom.  His strength lies in his ability to tweak the reality we think we know and present an alternate version of a truth.

Andy Wauman, THEY'LL USE CLUBS TO BEAT THE DREAM THAT FIT, 2014, ink on vintage flag, 19 x 106 inches.

Andy Wauman, THEY’LL USE CLUBS TO BEAT THE DREAM THAT FIT, 2014, ink on vintage flag, 19 x 106 inches.

Andy Wauman lives and works in Antwerp.  His list of exhibitions cross Europe and Asia with solo shows at Deweer Gallery, Otegem, Belgium, Art Statements Gallery, Hong Kong, and The National Museum of Glass, Leerdam, The Netherlands.  He has held residencies at the International Studio and Curatorial Program in New York City; 555 Arts, Detroit; and Rijksakademy for Visual Arts in Amsterdam and recently finished a residency at the Deus Ex Machina Headquarters in Canggu, Bali, Indonesia.  He is an artist who uses language as a means to keep things minimum without becoming a Minimalist.

ELISABETH KLEY: VOLTA NY 2014

 March 6-9, 2014

“In this decade in which the global art market has become more a mongrel affair than a thoroughbred show, when nations and cultures like China, Iran, and fundamentalist Islam are shaking Western sensibilities to their core, Elisabeth Kley’s ability to revitalize ceramic art with an appearance of ancient and far cultural motifs and styles from around the globe is not only timely, it’s in tune with the reappraisal of tradition that is marking much of the art being made abroad and newly introduced to the West. Kley’s work by and large evokes the distance of time and geography without directly appropriating extant cultural designs. Her work is evocative of something we’ve seen somewhere in our travels or on museum visits–at times recalling Persian, Venetian, Florentine, Chinese, and Moroccan design and ornament–but truly articulates no one style or artifact we can name or point to. Similarly, Kley’s glaze paintings recall arabesques, organic vignettes, manuscript illuminations–though her most significant accomplishment is presenting us a richly variegated cross-culturalism that blurs history, lineage, global politics and identities for a generation of global, aesthete-nomads in pursuit of an eclectic and mutable, if resurrected, beauty.”

                                                                                                                             G. Roger Denson, Huffington Post

Elisabeth Kley is a New York artist and writer whose solo exhibitions of ceramics, watercolors, drawings and prints have taken place in the John Tevis Gallery in Paris, France, Georgian National Gallery in Tbilisi, Le Petit Versailles and Rose Burlingham in New York and Momenta Art in Brooklyn. Her group exhibitions include Haunch of Venison, Francis M. Naumann Fine Art, Lesley Heller Workspace, Exit Art and Rupert Goldsworthy Gallery in New York, A. M. Richard Fine Art and Storefront in Brooklyn, Gavlak Gallery in Palm Beach and SEASON in Seattle. She has been nominated for several grants, including the Anonymous Was a Woman Award, the Rema Hort Mann Foundation Award, and the Joan Mitchell Foundation Fellowship, and she was awarded a Pollock-Krasner Foundation grant in 1998.

Elisabeth Kley, Large Green and Gold Round Lotus Bottle, 2012, glazed earthenware, 21" high.

Elisabeth Kley, Large Green and Gold Round Lotus Bottle, 2012, glazed earthenware, 21 inches high.

 

Elisabeth Kley, Tangerine Lobed Bottle, 2012, glazed earthenware, 13 inches tall.

Elisabeth Kley, Tangerine Lobed Bottle, 2012, glazed earthenware, 13 inches high.

 

Elisabeth Kley, Large Black and White Three Part Bottle Study with Fans, 2012, ink and graphite on paper, 46 x 35 inches.

Elisabeth Kley, Large Black and White Three Part Bottle Study with Fans, 2012, ink and graphite on paper, 46 x 35 inches.

additional images

PRETTY LITTER

December 5-29, 2013

Season and Prole Drift are pleased to announce the opening of PRETTY LITTER, featuring new paintings by Seattle artists JD Banke.

 

Prole Drift has invited SEASON to exhibit JD Banke in its International District space for the month of December in an effort to build community and expand the sense of cooperation among galleries.  SEASON is excited to have this opportunity and feels it opens the gallery format to other options.

There’s a town where all the homes are mobile homes.  Every kid is tall and skinny and endlessly moping from one empty swimming pool to another.  The sun is always at noon and you can feel the pressure pushing your head into your spine.  Parking lots are flat, superflat.  In fact the whole town is seemingly built on a perfect flat disk.  Nothing moves, but if you push something, it will not stop until it hits one of the numerous dead palm trees or trash cans.  Most of the kids have skateboards and they roll effortlessly from one kitchen to another, raiding refrigerators and mothers’ purses.  They glide by with pockets full of Pepsi and cash and anti-depressants; their long hair swells with the wind and wherever they go, they leave behind the scent of peppermint and fresh cut grass.  Someday soon, this town will buckle, the thin-walled homes will become piles of insulation and aluminum.  The parents will steal toys and torn denim.  They will toss trench coats and notebooks and cans of spray paint into the valleys and move to the top of the hills that look away, and they will drag these kids–their kids–with them to a new town, one less perfect.

JD Banke received his BFA from Cornish College of the Arts in Seattle, Washington.  JD’s work has been exhibited at Vignettes and NEPO 5K, additionally his shows have ranged from apartments to coffee shops to hair salons.  SEASON is honored to show this new body of work.

Installation view, PRETTY LITTER

Installation view, PRETTY LITTER

JD Banke, NOT IMPRESSED, 2013, acrylic on paper, 14 x 11 inches,

JD Banke, NOT IMPRESSED, 2013, acrylic on paper, 14 x 11 inches,

Additional Images

 

BOYS, JOKES AND THINGS

October 13-December 29, 2013

SEASON is PLEASED TO ANNOUNCE THE EXHIBITION Boys, Jokes and Things, FEATURING WORK BY Dawn Cerny.

 

Across the room

and over the fireplace

is a mantel our mantle

We place the things on the mantel that hold value to us.

Here is a photo a postcard.

There is a trophy.

We tastefully decorate with homey objects that taste mildly aspirational.

We display soft monuments made of paper and blood and plaster and yarn and limp erections and glue.

A copy of something by Isherwood by Forster by Auden by Döblin.

This is familiar.

This is so familiar it feels embarrassing.

(Maybe humiliating?)

          Two candle sticks over a fireplace.

          A matching mid-century sofa set.

          The sacred and the profane sit on opposite sides of this domestic setting.

          Our home.

          Our domestic setting.

          Again

          Again

          Again

          Again

Dawn Cerny received her BFA from Cornish College of the Arts in Seattle Washington and her MFA at Bard College, Milton Avery Graduate School of the Arts, Annandale-on-Hudson, New York.  Cerny works in a variety of mediums, including painting, printmaking and sculpture.  Her work has been shown at numerous venues including Henry Art Gallery, Seattle, Washington; Or Gallery, Vancouver, Canada; and Night Gallery, Los Angeles, California.  Dawn Cerny was born in Santa Barbara, California and lives in Seattle, Washington and SEASON is honored to show this new work.

Dawn Cerny, Candle Holders, 2012, paper construction with candles, 9 x 4 x 2 inches each.

Dawn Cerny, Candle Holders, 2012, paper construction with candles, 9 x 4 x 2 inches each.

Dawn Cerny, Untitled collage, 2013, screenprint with collage, 13.5 x 17 inches.

Dawn Cerny, Untitled collage, 2013, screenprint with collage, 13.5 x 17 inches.

 ADDITIONAL IMAGES

 

SOFT RAINS

AUGUST 1-31, 2013

SEASON and Prole Drift are pleased to announce the exhibition SOFT RAINS, featuring work by Nicola Ginzel, Louise Lawler, Mike Simi and Ian Toms.  Each artist will present work dealing with our tenuous future and its various outcomes, from optimistic resolution to distrustful self preservation.  The show title is a reflection on Sara Teasdale’s 1920 poem There Will Come Soft Rains which describes nature as it reclaims a battlefield, and in a subtle way alludes to massive human extinction.

 

Nicola Ginzel (New York) will exhibit a collection of small sculptures which rely upon our production systems and turn the unimportant into a New World Talisman.  With just a slight adjustment on some, or hours of obsessive attention on others, she creates objects that anchor us to our past while providing a bellwether to our future.  Nicola Ginzel lives and works in New York City.  She has exhibited nationally and internationally with selected curators such as Lisa Phillips, Bill Arning and Lydia Yee.  Awards include a grant from the Robert Rauschenberg Foundation, and a residency at Skaftfell Cultural Center in Seydisfjördur, Iceland.  She has been artist assistant to Roni Horn and Donald Lipski as well as teaching artist at the Jewish Museum and the Smithsonian Cooper Hewitt.

 

Louise Lawler (New York) is an International artist, coming to prominence in the 1980s as a member of the Pictures Generation.  Her work deals with issues of context.  For SOFT RAINS, her set of twelve silkscreened champaign flutes will be on exhibit.  Delicate and minimal, they offer hope or resignation, depending on one’s viewpoint.  Six glasses are screened with the English phrase “After The War” and the other six with the French “Apres La Guerre.”  Originally a sanguine toast to the end of WWII and its uncertain outcome, here the phrases become a reminder that although one war has ended, the future may hold others.  Louise Lawler’s work is in numerous important collections including The Museum of Modern Art, The Whitney, The Guggenheim, LACMA, The Art Institute of Chicago, Tate Britain, Center Georges Pompidou, Moderna Museet and Kunstalle Hamburg among others.

 

Mike Simi (Chicago) makes highly conceptual artworks that are creatively simple and subtly subversive.  Often his work reveals a known truth wrapped in humor.  For this show we have selected to show “Pill Organizer,” an oversized minimal painting.  As if from the set of THX 1138 and resembling a shield or corporate logo, this exaggeration of an organizer becomes both anonymous and ominous while reminding us of our personal frailties.  Mike Simi has show often in the Pacific Northwest.  He recently finished a residency at Pilchuck Glass School and has been rewarded a residency at S12 Studio, in Bergen Norway.  In October 2013, his work will be exhibited at Charlotte Street Foundation, Kansas City, Missouri.

 

Ian Toms (Seattle) creates paintings that consider a personal iconography in terms of universal expression.  His work is an effort to discover honesty and humility.  For this show, a new, aggressive work will be shown that provokes our optimism and questions its utility.  HIs work has been exhibited at Cornish College of the Arts, Vignettes and SEASON.  This year Mr. Toms’ paintings were the focus of a solo booth installation at VOLTA NY fair, in conjunction with the Armory Fair, and recently, his work was part of the group show “Make Your Own Luck” a joint project by The They Co. and The New Museum, curated by Ballast Projects.

Nicola Ginzel, Mango Element No.18  2002, mango seed, oil pastel, 2 x 4 x .75 inches.

Nicola Ginzel, Mango Element No.18 2002, mango seed, oil pastel,
2 x 4 x .75 inches.

Louise Lawler, set of twelve champagne flutes, date unknown.

Louise Lawler, set of twelve champagne flutes, date unknown.

Mike Simi, Pill Organizer, 2012, acrylic on canvas, 58 x 59 inches.

Mike Simi, Pill Organizer, 2012, acrylic on canvas, 58 x 59 inches.

 

Ian Toms, FERALTEEN (ways to bang), 2012, enamel and tape on scorched canvas, 44 x 33 inches.

Ian Toms, FERALTEEN (ways to bang), 2012, enamel and tape on scorched canvas, 44 x 33 inches.

 Additional images

THE (MENTHOLATED) ROADS AROUND NAPLES

SUMMER 2013

SEASON is proud to present THE (MENTHOLATED) ROADS AROUND NAPLES featuring oil paintings and ink drawings by Michael Ottersen.

Thick oil paintings over acrylic paintings creates a simple yet confusing hesitation in Michael Ottersen’s recent geometric abstractions.  Their multiple contradictions stem from how they seem hellbent upon producing the physical appearance of object-ness while completely content with just being an illusion.  Shapes attempt to produce a discoverable point of reference, but it is through memory and reflection that steers the task to completion.  The bold and slightly–sometimes very– off color palette combined with the cake icing brushwork makes these paintings seem familiar and fun, however there is always the suspicion that what is unseen is somehow more important.  Perhaps it is, or perhaps the titles are more important as some of the world’s smallest poems and they just need a place to hang.  Deeper still, one wonders if the real purpose of these works is to begin asking the questions that may never receive a definitive answer.

Michael Ottersen lives in Seattle Washington and has shown often in New York City, most recently at Feature Inc.  Locally his work has been seen at Bellevue Art Museum, Gallery 4Culture and Soil.  He received his BFA in painting from Tyler School of Art at Temple University, Philadelphia, Pennsylvania. SEASON is honored to present Mr. Ottersen’s first solo show in Seattle since 2004.

Michael Ottersen, Mary Krishna, 2012, oil and acrylic on canvas, 64 x 48 inches.

Michael Ottersen, Mary Krishna, 2012, oil and acrylic on canvas, 64 x 48 inches.

Michael Ottersen, Under Neptune, 2012, oil and acrylic on canvas, 24 x 18 inches.

Michael Ottersen, Under Neptune, 2012, oil and acrylic on canvas, 24 x 18 inches.

CATALOG AVAILABLE WITH ESSAY BY Aaron Krach, ARTIST and writer.
ADDITIONAL IMAGES.

 

EVERYTHING RIGHT AND ANYWHERE NOW

SEASON IS PROUD TO ANNOUNCE THE OPENING OF PETER SCHERRER’S SOLO SHOW EVERYTHING RIGHT AND ANYWHERE NOW.  THIS SIX WEEK LONG SHOW WILL OPEN IN PLATFORM GALLERY’S SPACE IN THE TASHIRO KAPLAN BUILDING, IN SEATTLE’S PIONEER SQUARE NEIGHBORHOOD ON MAY 10, WITH A FIRST THURSDAY RECEPTION FOR THE ARTIST ON JUNE 6, 2013.  IN A SPIRIT OF CAMARADERIE AND MUTUAL SUPPORT, PLATFORM HAS GENEROUSLY LOANED THE USE OF THEIR SPACE FOR THIS SHOW AND WE ARE EXCITED TO ONCE AGAIN BE PRIVILEGED WITH ANOTHER GALLERY SHARE.  BUILDING UPON THE COOPERATION FROM OUR RECENT SHARE AT PROLE DRIFT, SEASON AND PLATFORM ARE EAGER TO TRY NEW OPTIONS WITHIN THE GALLERY FORMAT.

Peter Scherrer’s latest work builds upon the dense and damp territories of his 2011 show and expands the frenetic energy found in his unyielding landscapes.  Working in both watercolor on paper and oil on canvas, this collection of new paintings creates views into fantastic worlds where night owls melt into trees while snakes hide in the branches.  For Mr. Scherrer, even his humble backyard holds amazing energy that is overwhelming and dreadful.  Dense lines in ink or oil set a framework for the atmosphere to become a vibrating and heavy cloak over nature.  Peter Scherrer received his BFA from California College of the Arts in San Francisco and he has shown in numerous galleries in California and Washington.  Mr. Scherrer was born in Mount Vernon, Washington and lives in Bellingham, Washington.  SEASON and Platform are honored to present this new work.

Peter Scherrer, Pocket Knife, 2013, oil on canvas, 60 x 75 inches.

Peter Scherrer, Pocket Knife, 2013, oil on canvas, 60 x 75 inches.

Peter Scherrer, Snake Rock, watercolor on paper, 22.5.5 x 20 inches.

Peter Scherrer, Snake Rock, watercolor on paper, 22.5 x 20 inches.

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COOL DRAMA

Ian Toms at VOLTA NY 2013

SEASON is proud to exhibit Ian Toms’ solo installation COOL DRAMA at VOLTA NY, March 7-10.  This exhibition will also serve as the launch for SASHA I, the first in a trilogy of short stories co-written by Ian Toms and Robert Yoder.  VOLTA NY is an invitational show of emerging solo artists’ projects and the American incarnation of the successful young fair founded in Basel in 2005.  VOLTA NY was conceived in 2008 by Artistic Director Amanda Coulson as a tightly-focused, boutique event that is a place for discovery and a showcase for relevant contemporary art positions regardless of the artist’s or gallery’s age.  In 2013 the invitational fair inaugurates its new location at 82 MERCER in SoHo, by showcasing 94 international galleries, spanning 6 continents and spotlighting artists from 38 nations.

I’m drinking a doppio espresso and stealing ideas when Serp bursts into my office; he’s totally geeked and chatting my ear off.  Out front, a half-dozen Russian businessmen and their escorts have just entered.  They are purposefully loud in an effort to impress but they needn’t bother;  Celeste, my world’s-best-employee, has discreetly texted me names and net worths before they are fully in the gallery.

Serp is still crapping on about his solo show he is convinced is scheduled for next September.  I’m not listening at all but stay seated so it looks like he is more important than some oil rich Russians.  Not a single one of them is remotely attractive until you imagine all the rubles spilling out of their pockets.  Their escorts are young and generic–high hem, low neckline, high heels, low self-worth.  I am certain at least one of them is a tranny.

I finally tell Serp to shut up and to not touch a thing.  I leave my office door open as I reach out my hand and say “Как поживаете?” –something else Celeste texted.  Tomorrow she will find a bottle of Stoli Elit on her desk.  (Later this week, while leaning next to a Schiele drawing of a young girl masturbating, I will learn that she has no gag reflex.)

The current show, YOUTHDEATH, has practically sold out–save for a few paintings by a young artist named Ashly. The Russians will understand her talent when I explain her work as “pulsating with an enigmatic morose virility.”  Two Dimitris argue over who acquires ownership of the syllables.  Dimitri number one wins with an offer of almost double the listed price.  I envision his fist buried in the tranny’s ass in a suite at the Four Seasons and imagine my description offered a brief moment of self-reflection.

Dimitri the Tranny-Fister heads back to my office and pays for the paintings out of an enormous wad of hundreds bound with a rubber band.  I cringe as Serp introduces himself as one of my artists, but calm down slightly as he inadvertently reveals himself as my dealer and offers to share a small fortune in coke.  Dimitri no longer cares about the rest of his group, shouting at them to head to TeaHouse, a new-ish restaurant in Brighton Beach.  He will catch up later.  The party leaves and Celeste soon disappears–she has learned her lesson on getting high with groups of men in locked buildings more than once.  Dimitri vacuums up half a gram through a ridiculous 18 karat gold coke straw (thanks again Serp) and goes on a rant about getting gonorrhea from an Iranian hooker in Atlantic City.  Nervous laughter drops into drugged-up silence.  One muffled vibration and everyone instinctively reaches for their phone, and once again I become overwhelmed with anxiety.

The Russian extracts his blackberry from an interior pocket of his ill-fitting Versace suit.  “Business,” he apologizes, “I need to go.”

Serp offers him a ride in his S Class, one of the perks of his own business endeavors.  We all exchange valedictions with varying degrees of sincerity and they are gone.  I lock the gallery doors behind them, turn off the lights and text Celeste to take the afternoon off.  I curl up under my desk covered in a sweat.  My nose is running and I can’t stop crying.

Ian Toms, Cool Drama, 2012, monoprint, 14.5 x 10 inches.

Ian Toms, Cool Drama, 2012, monoprint, 14.5 x 10 inches.

Ian Toms, HURTCORE (basement hammer bowieknife blowtorch), 2012, enamel and tape on scorched canvas, 44 x 33 inches.

Ian Toms, HURTCORE (basement hammer bowieknife blowtorch), 2012, enamel and tape on scorched canvas, 44 x 33 inches.

Additional images
VOLTA NY