HOT CAR DEATH DAD

January 10-March 27, 2016

SEASON IS PROUD TO PRESENT hot car death dad a solo show of recent sculptures BY Seth David Friedman.  Working in a variety of media, Seth creates objects which look as if they came out of a body, or are ready to go in one. THIS WILL BE his FIRST solo show with the gallery.  OPENING RECEPTION IS SUNDAY january 10, 2-5PM AND THE SHOW CONTINUES TO march 27.

“And it is precisely when we are unsure of something that our curiosity is aroused, and that we then tend to regard it more closely, consider it more carefully, and in the end, experience it more intensely.”
Ralph Rugoff

 

Seth David Friedman, Untitled, 2015, plaster and silicone held together with a rubber band, 7.5 x 6 x 7 inches.

Seth David Friedman, Untitled, 2015, plaster and silicone held together with a rubber band, 7.5 x 6 x 7 inches.

Seth David Friedman, Untitled, 2014, Carrara marble, 18 x 14 x 15 inches.

Seth David Friedman, Untitled, 2014, Carrara marble, 18 x 14 x 15 inches.

Seth David Friedman, Untitled, 2015, carved granite, 5.5 x 3 x 1 inches.

Seth David Friedman, Untitled, 2015, carved granite, 5.5 x 3 x 1 inches.

Seth David Friedman, Untitled, 2015, Carrara marble and color pencil, 4.5 x 3 x .75 inches.

Seth David Friedman, Untitled, 2015, Carrara marble and color pencil, 4.5 x 3 x .75 inches.

Seth David Friedman, Untitled, 2014, (l) gold plated bronze (r) cotton gauze covered bronze, each 4 x 2 x 2 inches.

Seth David Friedman, Untitled, 2014, (l) gold plated bronze (r) cotton gauze covered bronze, each 4 x 2 x 2 inches.

Seth David Friedman, Untitled, 2015, frozen dog food, 7 x 4 x 4 inches.

Seth David Friedman, Untitled, 2015, frozen dog food, 7 x 4 x 4 inches.

PULSE ART FAIR MIAMI 2015

December 1-5, 2015

CARS IN A CIRCLe

Juliet Jacobson and Dylan Neuwirth
PULSE ART FAIR MIAMI Beach

SEASON is proud to present a two person booth of new works by Juliet Jacobson and Dylan Neuwirth.  Both artists deal with issues of representation at a time when images are free-flowing and overabundant.  They approach artmaking with different views and are fully aware that their efforts compliment–and are at odds with–internet driven image consumption.  Jacobson meticulously draws simple objects such as mirrors, plastic bags, and folded pieces of paper in graphite.  By focusing on the blank spaces or the subtle wrinkles, the artist illuminates the empty spaces of the mundane and the secret life they harbor.  Neuwirth works in text, neon, sculpture, video, digital media and experiments in technology that are both community driven and conceptually focused as a continuous investigation of what it means to be human.  Dylan’s mission is to connect these ideas with audiences outside this specific discourse using pop culture, inclusive story telling, and self depreciating humor as an entry point.

Juliet Jacobson (b. 1977, Puyallup, Washington) lives and works in New York. She attended the School of the Art Institute of Chicago as an undergraduate before receiving her MFA from New York University in 2006. Jacobson’s work expresses the essential features of a skill-based medium: drawing.  “I understand that some might find it oppressive to undertake something so laborious, but for me it’s comforting to have such serene, abiding work,” Jacobson told the Huffington Post in an interview. Her most recent work has been exhibited at SEASON in Seattle, Schneiderei Gallery in Vienna, at Blackston Gallery in New York and with the Sphinx curatorial project. She was an artist in residence at the Kimmel Harding Nelson Center for the Arts and the Catwalk Institute in 2014. She teaches at New York University, Steinhardt School Department of Art and Art Professions.  For Pulse, Juliet will present six new drawings of a folded and wrinkled sheet of paper.

Dylan Neuwirth (b. 1977, Athens, Georgia) is a posthuman contemporary artist. His multilayered practice spans text, sculpture, neon, digital media and public art to establish the relevance of personal identity in a data-driven, networked world.  Since 2011, Neuwirth has produced experimental ideas in a wide range of analog and online formats to build large-scale conceptual work. He has participated in numerous solo and group exhibitions including venues in the US, UK and Kuwait. His virtual projects have been hosted on Library of the Printed Web, NewHive, Digital Sweat, Black Box Festival and Facebook.  Neuwirth’s most recent work is a free standing neon artwork created for the campus of the University of Wyoming.  For Pulse, Dylan will present a new neon sculpture that references consumer culture, cult imagery and technology.

Juliet Jacobson, Birthday Tequila (Verso Horizontal Flip) 2015, graphite on paper, 20 x 14 inches.

Juliet Jacobson, Birthday Tequila (Verso Horizontal Flip) 2015, graphite on paper, 20 x 14 inches.

Juliet Jacobson, Birthday Tequila (Recto) 2015, graphite on paper, 20 x 14 inches.

Juliet Jacobson, Birthday Tequila (Recto) 2015, graphite on paper, 20 x 14 inches.

Juliet Jacobson, Birthday Tequila (Verso Vertical Flip Reverse Light) 2015, graphite on paper, 20 x 14 inches.

Juliet Jacobson, Birthday Tequila (Verso Vertical Flip Reverse Light) 2015, graphite on paper, 20 x 14 inches.

Juliet Jacobson, Birthday Tequila (Recto Vertical Flip Reverse Light) 2015, graphite on paper, 20 x 14 inches.

Juliet Jacobson, Birthday Tequila (Recto Vertical Flip Reverse Light) 2015, graphite on paper, 20 x 14 inches.

Dylan Neuwirth, MMXI, 2013, blown glass, approx. 5 x 5 x 13 inches (each) and 32 x 32 x 13 inches (overall).

Dylan Neuwirth, MMXI, 2013, blown glass, approx. 5 x 5 x 13 inches (each) and 32 x 32 x 13 inches (overall).

Dylan Neuwirth, HYBRID II, 2013, fabricated and chrome plated stainless steel, extruded and drop forged carbon steel, lock, 36 x 6 x 12 inches.

Dylan Neuwirth, HYBRID II, 2013, fabricated and chrome plated stainless steel, extruded and drop forged carbon steel, lock, 36 x 6 x 12 inches.

Dylan Neuwirth, HYBRID I, 2013, fabricated and chrome plated stainless steel, extruded and drop forged carbon steel, lock, 28 x 6 x 12 inches.

Dylan Neuwirth, HYBRID I, 2013, fabricated and chrome plated stainless steel, extruded and drop forged carbon steel, lock, 28 x 6 x 12 inches.

Dylan Neuwirth, INTERFACE, 2015, neon, argon, glass, nickel, acrylic, GTO and two transformers on artist made aluminum pallet, 36 x 36 x 30 inches.

Dylan Neuwirth, INTERFACE, 2015, neon, argon, glass, nickel, acrylic, GTO and two transformers on artist made aluminum pallet, 36 x 36 x 30 inches.

 

 

 

 

 

Sluice Art Fair 2015

October 16-18 2015

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SEASON IS EXCITED TO participate in the 2015 edition of Sluice Art Fair.

October 16-18, 11-6pm daily

VIP RECEPTION October 15, 2-5pm.

Bargehouse, OXO Tower Wharf, South Bank, London.

Artists to be exhibited: Andy Heck Boyd and Mike Simi.

 

 

Andy Heck Boyd, Untitled (Cat) 2015, acrylic on comic book page, 10 x 7 inches.

Andy Heck Boyd, Untitled (Cat) 2015, acrylic on comic book page, 10 x 7 inches.

Mike Simi, SISU, 2015, permanent ink on paper, 17 x 11 inches.
Mike Simi, SISU, 2015, permanent ink on paper, 17 x 11 inches.

 

 

SLOW ENHANCERS

August 5-29 2015

SEASON is excited to present the group exhibition SLOW ENHANCERS and wishes to thank Platform Gallery for the use of their space for the month of August.  The Opening reception is First Thursday August 6, 6-8pm and The show will continue to August 29.  hours are Wednesday to Saturday, 11am to 5pm and by appointment, Platform Gallery is located at 114 Third Avenue South, in the Tashiro-Kaplan Building.

Exhibiting artists include Sharon Butler, Calvin Ross Carl, Dawn Cerny, Seth David Friedman, Nicola Ginzel, Cable Griffith, Mary Henry, Juliet Jacobson, Christopher Moss, Anthony Palocci Jr. and Marius Wilms.

There’s a memory of something like a tongue or a candy wrapper and I chased it.  I thought I’d see things if I looked but I couldn’t.  I thought I’d see through things if I looked harder but I still couldn’t.  I got jammed up on some duffer and dope and for some reason I’m lying face down on a beach with both hands in my left pocket.  The waves are crashing near me, only I don’t know where they are.  I’m too weak and unconcerned to look up.  I wonder if I open my eyes now I’ll see the center of the Earth but I don’t dare.  That kind of knowledge would be a dream and I have stopped having dreams.

Calvin Ross Carl, Big Town Small Dreamer (Give Up) 2014, acrylic on canvas, 20 x 16 inches.

Calvin Ross Carl, Big Town Small Dreamer (Give Up) 2014, acrylic on canvas, 20 x 16 inches.

Seth David Friedman, FORTHELIVEDEVIL, 2011, Carrara marble, 18 x 12 x 12 inches and Dawn Cerny, Anaheim, 2015, gouache on silkscreen, 16 x 14 inches.

Seth David Friedman, FORTHELIVEDEVIL, 2011, Carrara marble, 18 x 12 x 12 inches and Dawn Cerny, Anaheim, 2015, gouache on silkscreen, 16 x 14 inches.

Anthony Palocci Jr., Looking Up, 2015, gouache on paper, 12 x 24 inches.

Anthony Palocci Jr., Looking Up, 2015, gouache on paper, 12 x 24 inches.

Marius Wilms, Lybia, 2011, acrylic on panel, 10.5 x 14 inches.

Marius Wilms, Lybia, 2011, acrylic on panel, 10.5 x 14 inches.

THE OCEAN IS DOUBLE SIDED

July 19-September 27, 2015

SEASON is proud to present THE OCEAN IS DOUBLE SIDED featuring paintings by Matthew F Fisher, Caris Reid and Ryan Schneider.  Each of these artists works in a unique representational style and this will be the first time each has shown in Seattle.  Opening reception is Sunday July 19, 2-5pm and the show continues to September 27.

 

I saw an old wise bird, a symbol. It upset every fool inside me, unsettled my things and bound me lonely floating on empty pillows floating on empty logs floating on empty.  There is no fortune to mention–between the sunrise and sunset, nothing fathoming.  The rain is not landing though I know it falls while galaxies go ripped with reason and Neptune may have a fine fine fine fire. Why must they say oceans go from mother to panic? Seeming in such little ways little, my dreams here are alone; they must be lost (beautiful hands-off.)  Consider me when you round the horn and sound a good morning emotion across and on and on and across the sea-shadow.  Just know nothing can scare me.  As a figure rises from the tide, another sinks with truth and chutes, like others.  

 

Matthew F Fisher (Brooklyn New York) has exhibited across the US, most recently a solo show at Sardine, Brooklyn New York.  He has been the recipient of residencies at Yaddo, Sarasota Springs New York, Millay Colony for the Arts in Austerlitz New York and the Vermont Studio Center in Johnson Vermont.  Matthew’s work has been featured in The New York Times, Time Out New York, Time Out London, New American Paintings and Art Papers.  He holds an MFA from Virginia Commonwealth University.

Caris Reid (Brooklyn New York) has shown often along the east coast, her work is currently hanging in the Longhouse Projects show “Suddenly Last Summer.”   Also she has show at Sargent’s Daughters, Leo Koening Inc, Ramiken Crucible and The New Museum, all New York City.  She has had residencies in Texas, New York and Berlin and holds a BFA Cum Laude from Boston University.

Ryan Schneider (Joshua Tree California) has participated in numerous solo and group exhibitions worldwide. Recent shows include a solo presentation at VOLTA NY with Two Rams, NY, as well as participation in group shows at Galleri Jacob Bjørn, Denmark, The Munkeruphus Museum in Denmark and Bendixen Contemporary Art in Copenhagen.  Ryan’s work has been featured in Whitewall Magazine, Modern Painters, ArtNet, The New Yorker, Art in America, The Brooklyn Rail, ArtInfo, New American Paintings, Art Fag City and several other publications. Ryan  received his BFA from the Maryland Institute, College of Art.

 

 

Matthew F Fisher, Silver Boy Blue, 2014 Acrylic on canvas, 15 x 19 inches.

Matthew F Fisher, Silver Boy Blue, 2014, acrylic on canvas, 15 x 19 inches.

Matthew F Fisher, A Vagrant Harmony, 2014, acrylic on canvas, 19 x 15 inches.

Matthew F Fisher, A Vagrant Harmony, 2014, acrylic on canvas, 19 x 15 inches.

Matthew F Fisher, The Forgotten Mark, 2014, acrylic on canvas, 16 x 20 inches.

Matthew F Fisher, The Forgotten Mark, 2014, acrylic on canvas, 16 x 20 inches.

Matthew F Fisher, On Calvary, 2014, acrylic on canvas, 14 x 19 inches.

Matthew F Fisher, On Calvary, 2014, acrylic on canvas, 14 x 19 inches.

Caris Reid, Water Warrior (Yellow Sky), 2014, acrylic on panel, 24 x 30 inches.

Caris Reid, Water Warrior (Yellow Sky), 2014, acrylic on panel, 24 x 30 inches.

Caris Reid, Water Warrior (Blue Sky), 2014 acrylic on panel, 24 x 30 inches.

Caris Reid, Water Warrior (Blue Sky), 2014, acrylic on panel, 24 x 30 inches.

Caris Reid, Water Warrior (Purple Sky), 2014 acrylic on panel, 24 x 30 inches.

Caris Reid, Water Warrior (Purple Sky), 2014, acrylic on panel, 24 x 30 inches.

Ryan Schneider, Owl Omen, 2015, oil and bone on linen, 24 x 20 inches.

Ryan Schneider, Owl Omen, 2015, oil and bone on linen, 24 x 20 inches.

Ryan Schneider, The Giver, 2015, oil and rock on linen, 24x20 inches.

Ryan Schneider, The Giver, 2015, oil and rock on linen, 24×20 inches.

Fingers That Touch The Sky

May 17-June 28 2015

SEASON is proud to present FINGERS THAT TOUCH THE SKY, a show of paintings and drawings by Shannon McConnell, a visual artist and musician living in Seattle.  His oil paintings of characters in transfiguration blend a fantasy situation with garage punk animism.  As a musician, Shannon was a member of The Fall-Outs, The Pulses and has worked with The Outcasts and El Vez.  His paintings have been shown along the West Coast as well as in Prague, Czech Republic.  This is Shannon’s second show with the gallery.

I know how to turn the cameras off and make it so no one will see.

I can mute the microphones and everything posted will fall, this record will end.

I gotta find a way to get their attention and make them understand.  Desley is my only chance and he’s probably not Desley anymore.  He’s behind the bar bartending and ignoring me.  He’s gone like the others.  He sees what he thinks he wants to see and listens to what he has already heard.  I have a story about what happened but no one listens.

Memories are so fragile to begin with, I want to keep this one.

 

Shannon Mcconnell, At the Nothing Doing, 2015, oil on canvas, 30 x 20 inches.

Shannon Mcconnell, At the Nothing Doing, 2015, oil on canvas, 30 x 20 inches.

SHANNON MCCONNELL, FUCKHEAD, 2015, OIL ON CARDBOARD, 12 X 12 INCHES.
SHANNON MCCONNELL, FUCKHEAD, 2015, OIL ON CARDBOARD, 12 X 12 INCHES.

SHANNON MCCONNELL, SCHITZO, 2015, OIL ON CARDBOARD, 12 X 12 INCHES.

SHANNON MCCONNELL, SCHITZO, 2015, OIL ON CARDBOARD, 12 X 12 INCHES.

SHANNON MCCONNELL, UNTTILED, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

SHANNON MCCONNELL, UNTTILED, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

SHANNON MCCONNELL, BEEP, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

SHANNON MCCONNELL, BEEP, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

SHANNON MCCONNELL, RESISTER, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

SHANNON MCCONNELL, RESISTER, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

SHANNON MCCONNELL, ON A SKIFF, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

SHANNON MCCONNELL, ON A SKIFF, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

 

 

 

Peter Scherrer at VOLTA NY 2015

March 5-8 2015

SEASON is very proud to exhibit again at VOLTA NY Art Fair with a solo booth presentation of paintings by Peter Scherrer.  The fair will be March 5-8 at Pier 90, New York City.  Pier 90 is located at west 50th and twelfth avenue.

“I get much of the inspiration for my work from the people and landscape in this particular region… After growing up here, I was privileged to leave and go to art school, and now that I’m back my experience away has lent me a different point of view— I’ve been able to connect to this place somewhat as a stranger while still being an insider, a person who is from here and knows this place intimately.”
Peter Scherrer

Born and raised and in Washington, Peter brings a delicate, native understanding to his paintings to create imagined landscapes of impossible lushness that radiate with chaos, hostility, and humor. Working in both watercolor on paper and oil on canvas, his pieces manage to expand and further complicate our views on nature— by loosely considering Romanticism, our history of exploration and settlement, hippie idealism, and his own personal experiences growing up in the region, Peter confronts our flawed relationship with the nature world. By combining equal measures of terror and kooky humor, Peter’s work demands that we reconsider our often messy, sometimes well-intentioned attempts to make the natural world known.

Bellingham, Washington sits just 17 miles south of the US-Canada border— tucked up into the furthermost corner of the United States, it’s a last stop kind of place, the end of the line, where journeys halt and then either drift out into the Pacific Ocean or cross over into Canada’s sprawl.  There is an undeniable Americanness to it; there’s a palpable wildness to the land, a riot of growth and density in the trees, the bushes, the grasses, and too many hues of green to count. A real pioneer-like spirit seems apparent amongst most of its people, a rough and readiness, a rare mix of stoicism and vulnerability that is somewhat rooted in withstanding long dark winters, isolation, and countless days of rain. And there is a shabbiness, too, a bruised history–especially in some of the smaller towns–that hints at struggling economies, fractured communities, unfulfilled possibilities…

This text was adapted from an originally published studio visit with Peter Scherrer on In The Make. To see more studio visits with West Coast artists go to www.inthemake.com

Peter Scherrer, Four Lizards, 2014, watercolor on paper on panel, 48 x 72 inches.

Peter Scherrer, Four Lizards, 2014, watercolor on paper on panel, 48 x 72 inches.

Peter Scherrer, Sticks, Eyes, 2014, oil on burlap on panel, 16 x 20 inches.

Peter Scherrer, Sticks, Eyes, 2014, oil on burlap on panel, 16 x 20 inches

 

Peter Scherrer, Pink Web, 2014, oil on burlap on panel, 16 x 20 inches.

Peter Scherrer, Pink Web, 2014, oil on burlap on panel, 16 x 20 inches.

 

Peter Scherrer, Moth and Spider, 2013, oil on canvas over panel, 10 x 7.5 inches.

Peter Scherrer, Moth and Spider, 2013, oil on canvas over panel, 10 x 7.5 inches.

 

Peter Scherrer, Snake Rock, 2013, watercolor on paper, 22.5 x 20 inches.

Peter Scherrer, Snake Rock, 2013, watercolor on paper, 22.5 x 20 inches.

 

Peter Scherrer, installation view.

Peter Scherrer, installation view.

 

IT’S MY BONE AND MY ONLY DELIGHT

Winter 2015

Season is proud to present IT’S MY BONE AND MY ONLY DELIGHT, a group show focusing on humor and communication.  Artists included in the show are Andy Heck Boyd, Dawn Cerny, Com + Com, Seth David Friedman, Harrison Haynes, Juliet Jacobson, Euan Macdonald, Allison Manch, Dylan Neuwirth, Brad Philips, Peter Scherrer and Mike Simi.

“Elmer Smudgegegunk was married to an old shrew, one of those women that’s always nagging and raising the devil around the house.  At times, she even went so far as to throw pots and pans at Elmer’s bean.  The poor guy stood it as long as he could, then decided to find a little consolation via the liquor store, so, for one whole week, he went on a binge.  Every night, he’d return home as blind as a bat.  He became a chronic lush and was plastered day and night, which worried his friends down at the grocery store, so they decided to do something to cure him.  The plan was for one of them to dress up all in red like the devil, with horns on, and carry a pitchfork.  The self-appointed benefactor hid in the  cemetery, which he knew Elmer would have to pass on his way home.  It was midnight when poor Elmer staggered by the cemetery.  As he passed a tombstone, the devil jumped up from behind it.  Elmer stopped, and gazed at him, as he swayed unsteadily on his feet.

“You’ll have to stop drinking!” warned the devil.

“Who are you?” asked Elmer, thick tounged.

“I’m the devil!”

“Oh, you’re the devil,” laughed Elmer boisterously.  “I’m glad to meet you!  I married a sister of yours!”

‘Senator’ Ed Ford, Can You Top This, 1945

 

Dawn Cerny, Be Good, 2014, screen-printed wallpaper with screen-printed postcards attached with paperclips, 48" x 81 inches.

Dawn Cerny, Be Good, 2014, screen-printed wallpaper with screen-printed postcards attached with paperclips, 48 x 81 inches.

Mike Simi, Tylenol PM (single dose), 2014, cast glass, actual size.
Mike Simi, Tylenol PM (single dose), 2014, cast glass, actual size.

Additional images