Exhibit . Season

Anthony Palocci Jr at Volta

March 1-5 2016

BOOTH D-12

SEASON IS PROUD TO PRESENT A SOLO BOOTH PRESENTATION OF ANTHONY PALOCCI JR AT Volta Art FAir, Pier 90, New York, New York.

studio, January 2017.

Anthony Palocci Jr, Self Portrait, 2017, oil on canvas, 40 x 72 inches.

Anthony Palocci Jr, VHS, 2016, oil on canvas, 40 x 72 inches.

Anthony Palocci Jr, Field Recordings, 2016, gouache on paper, 11 x 15 inches.

: Anthony Palocci Jr, Voice Opperated Walkie Talkie, 2017, gouache on paper, 30 x 22 inches.

Cars In A Circle

Winter 2017

SEASON is very proud to present CARS IN A CIRCLE, the first solo show of paintings on the west coast by Andy Heck Boyd. Andy’s work is motivated in part by his paranoid schizophrenia and delusions of hearing the voices of satan. These burdens have led Andy to multiple college drop outs, and forced him to become self-taught. Pulling from numerous aesthetics and styles, his work ranges from short novellas, comics, film, photography and painting. SEASON is excited to present a collection of acrylic portraits and still lifes, with an opening reception on Sunday January 15, 2-5 pm. The show will continue to March 31.

“It is snowing. I am in my room with my back to the window, listening.

How do I tell you what I can hear? I have to make a type of mental translation of physical things into words. I will try. It is quiet. I am not trying to capture a type of reality as I experience it through my mind, but I am trying to capture a mood. It is quiet behind me, to my right music is playing. Sergei Prokofiev’s Peter and the Wolf is playing on my computer. Behind me, down the street a vehicle’s engine, or maybe tires are spinning in the blanket of white powder. It is not very bright out for ten past eight in the morning. I keep the lamp on my desk lit.”

—Andy Heck Boyd, December 5, 2016.

Installation view CARS IN A CIRCLE

Andy Heck Boyd, Bucket Head, 2016, acrylic on canvas, 20 x 16 inches.

Andy Heck Boyd, Invisible Man Chevy Chase, 2016, acrylic on canvas, 12 x 12 inches.

Andy Heck Boyd, Clown, 2016, acrylic on canvas, 12 x 12 inches.

Andy Heck Boyd, The Frogs, 2016, acrylic on canvas, 12 x 9 inches.

Andy Heck Boyd, Harmony Korine, 2016, acrylic on canvas, 12 x 9 inches.

Andy Heck Boyd, ODB, 2016, acrylic on canvas, 12 x 12 inches.

Andy Heck Boyd, The Beatles, 2016, acrylic on canvas, 12 x 9 inches.

Andy Heck Boyd, Still Life, 2016, acrylic on canvas, 12 x 9 inches.

Andy Heck Boyd, Clint Eastwood, 2016, acrylic on canvas, 20 x 16 inches.

Andy Heck Boyd, Mike Kelley, 2016, acrylic on canvas, 10 x 8 inches.

Andy Heck Boyd, Howard the Duck, 2016, acrylic on canvas, 12 x 9 inches.

Andy Heck Boyd, Untitled (Bed), 2016, acrylic on canvas, 12 x 9 inches.

Free Dirt

Fall 2016

SEASON IS DELIGHTED TO PRESENT A show of new oil paintings BY Michael Ottersen WITH AN OPENING RECEPTION October 9, 2-5PM. THE SHOW CONTINUEs TO December 31.

Across the street that one neighbor is always working on his yard. There is a blue tarp at the end of his driveway and on it is a pile of that useless sandy clay we have out here and what looks like a few chunks of brick. There is maybe enough soil there to fill a pair of small planter boxes. Part of me plans to take it away one night just so I don’t have to look at it anymore. I could slowly throw it away in my trash until it is all gone. Then I think of his generosity and I shake my head. He paid so much money for that property a dozen years ago, and now he’s giving it away for free, with a little cardboard sign and his blessings.

Michael Ottersen, Rest Area, 2014, oil on canvas, 72 x 48 inches.

Michael Ottersen, A Naked People Person, 2014, oil on canvas, 60 x 45 inches.

Michael Ottersen, Summer Reading, 2016, oil on wood, 18 x 21.5 x 3.25 inches.

Michael Ottersen, There’s That (A), 2015, gouache on paper, 15 x 10 inches.

Michael Ottersen, Portrait of a Ladyfinger/Fontainebleau, 2016, ink on paper, 12 x 9 inches.

Michael Ottersen, Two of the Nine Permanent Emotions, diptych, 2016, ink on paper, 12 x 9 inches each.

Michael Ottersen, Double Portrait of a Ladyfinger/Fontainbleau, diptych, 2016, ink on paper, 12 x 9 inches each

Michael Ottersen, Famous People in Bed, 2016, oil on canva, 24 x 24 inches.

Michael Ottersen, Still Life with Advil, 2016, oil on wood, 6.25 x 8 x 3.5 inches.

Michael Ottersen, Lower Education/5 Easy Pieces 5, 2015, gouache on paper, 15 x 11 inches.

Michael Ottersen, Black Space, 2016, gouache on paper, 16 x 12 inches.

Anthony Palocci Jr at Seattle Art Fair

august 4-7 2016

Booth b-17

SEASON IS PROUD TO PRESENT A SOLO BOOTH PRESENTATION OF anthony palocci jr AT seattle ART FAIR, seattle washington.

Anthony Palocci Jr at Seattle Art Fair, photo by Nathaniel Willson.

(left) B-Side, 2016, oil on canvas, 60 x 36 inches.
(right) Joanne’s Stereo, 2016, oil on canvas, 54 x 72 inches

Direct Drive, 2016, gouache on paper, 18 x 14.5 inches.

Radio, 2015, gouache on paper, 12 x 16 inches.

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All Around But Never Near

Summer 2016

SEASON IS DELIGHTED TO PRESENT A TWO PERSON SHOW OF GRAPHITE DRAWINGS BY JULIET JACOBSON AND SILK SCREENED PRINTS BY RYAN MCINTOSH WITH AN OPENING RECEPTION JULY 17, 2-5PM. THE SHOW WILL CONTINUE TO SEPTEMBER 30.

The future is what matters but needs to been seen through the lens of the past.

The title of the article was “Antiques for the Avant-Garde” and I had to chuckle at the thought. Eight pages (mostly pictures) on how to introduce old things into your new futuristic lifestyle while maintaining your cutting-edge aesthetic. The suggestion was that somehow there needed to be a reckoning with the past, a way to let it in and still have yourself give off a style of relevancy and forward thinking. The writer recommended Scandinavian carvings and Chinese screens and early American metalwork as if they could simultaneously be old and contemporary. It seemed strange there was no real mention of the present, just a drumbeat to find the right thing that could still be fresh tomorrow.

Juliet Jacobson lives and works in New York City. She received her MFA from New York University. Jacobson’s most recent work has been exhibited at Two Rams Grand Street, the Sphinx curatorial project and Blackston Gallery in New York City, at Schneiderei Gallery in Vienna, and at SEASON in Seattle. Her work has been featured in ArtNews, Artforum, and the Huffington Post. 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.

Ryan McIntosh is a contemporary artist currently residing in Los Angeles, California and is the founder/master-printer of Miscellaneous Press. McIntosh received his MFA from Rhode Island School of Design with a concentration in Printmaking. A new suite of prints was recently the focus of a solo show at Stone Malone Gallery in Los Angeles. Other exhibitions of note include Hammer Museum and California State University. This will be Ryan McIntosh’s first exhibition at SEASON.

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

Ryan McIntosh, POTW #19, 2014, silkscreen on paper, 16 x 20 inches, edititon of 40.

Ryan McIntosh, POTW #49, 2014, silkscreen on paper, 16 x 20 inches, edititon of 40.

Ryan McIntosh, POTW #51, 2014, silkscreen on paper, 16 x 20 inches, edititon of 40.

Ryan McIntosh, POTW #43, 2014, silkscreen on paper, 16 x 20 inches, edititon of 40.

Ryan McIntosh, POTW #26, 2014, silkscreen on paper, 16 x 20 inches, edititon of 40.

Ryan McIntosh, POTW #52, 2014, silkscreen on paper, 20 x 16 inches, edititon of 40.

Ryan McIntosh, POTW #30, 2014, silkscreen on paper, 20 x 16 inches, edititon of 40.

Ryan McIntosh, POTW #25, 2014, silkscreen on paper, 20 x 16 inches, edititon of 40.

Ryan McIntosh, POTW #48, 2014, silkscreen on paper, 20 x 16 inches, edititon of 40.

Ryan McIntosh, POTW #8, 2014, silkscreen on paper, 20 x 16 inches, edititon of 40.

NOW IT’S TIME TO LOSE IT NOW

Spring 2016

…with every breath you can smell the sandalwood and suntan lotion and the waves as they crash right as you are about to whisper “I love you.” You hold back, afraid to let go of that moment, afraid it may not continue.

Release.

A charge of wild horses kicks up dust and bones and memories from when you lived in the North. The North was where things happened and things moved. You’re not there anymore and you see a slower speed to your life. A rock band is playing on the neighbor’s radio and you know the song but can’t remember it. The one guy singing had a cute face but you always thought he was just a little too skinny. What was his name? Does it matter anymore? Did it ever? The song used to be comfort, it spoke in riddles that teenage you understood at the time. Now it speaks in different riddles and you quit being a teenager long ago.

Allison Manch was born in Phoenix, Arizona and studied at the University of Hawaii and received her BFA from Arizona State University. In 2004 she received her MFA from the University of Washington, Seattle. She has shown often in the Pacific Northwest, most recently at Bellevue Arts Museum, Bellevue Washington.

Allison Manch, Dinosaurs, 2016, embroidery on cotton, 18 x 33 inches.

Allison Manch, Tony, 2015, embroidery and graphite on cotton, 9.5 x 14.5 x 3 inches.

Allison Manch, Loop, 2012, braided and tied cotton fabric with embellishments, overall 36 inches.

Allison Manch, Farrah, 2014, braided and tied cotton fabric with embellishments, overall 22 x 22 inches.

Allison Manch, Prevailing Wind, 2014, ink on leather, 40 x 25 inches.

Allison Manch, Ramona, 2014, embroidered cotton. 22 x 18 inches.

Allison Manch, Virginia Woolf (So the Green Flame Seems Hidden in the Emerald), 2014, watercolor on appliqued cotton, 20 x 26 inches.

MIKE SIMI AT VOLTA NY 2016

MARCH 2-6 2016

SEASON IS PROUD TO PRESENT A SOLO BOOTH PRESENTATION OF MIKE SIMI AT VOLTA ART FAIR, NEW YORK CITY.

TENDERNESS AND ROT

Mike Simi was born in Newberry, a small town in the Upper Peninsula of Michigan, USA. The outcome of his living in such a remote location was the creation of a strong ability to self-entertain. This, combined with a loving but offbeat family, has given Mike a keen sense of dark humor. His artwork is creatively simple and subtly subversive and allows for his sculptures to become troublemakers, denying themselves their original functions while barely able to operate with their new identity. Although confused, these objects continue to push on, working towards a new unknown purpose. A schizophrenic respect for all things exists side-by-side with a harmless disregard towards every thing. The common denominator in his work is a smart and incisive commentary on the trappings of self-representation by way of class and economy. Recent ink drawings show a naive urgency to communicate. Half earnest, half tongue-in-cheek, these drawings often reveal a truth wrapped in humor. Mike Simi recognizes the conflict hidden within his works, and believes that conflict can be a form of beauty and a place of honest communication.

Mike studied ceramics at Northern Michigan University and received his MFA at the University of Washington in 2007, where he studied with Akio Takamori and Jamie Walker. While there, his studies lead him into advanced computer robotics that dealt with the dual representation of a social persona and a private persona. Recent shows include exhibitions in London, Kuwait City, New York City, Chicago and Seattle, with residencies at Pilchuck Glass, Stanwood, Washington, and S12 Glassworks, Bergen, Norway. Mike Simi lives and works in Chicago Illinois.

Mike Simi, Lamp, 2016, mixed media with street clothing, electronics, 24 x 24 x 60 inches.

Mike Simi, Untitled (Filter), 2016, mirrored plexiglass, 8 inches diameter.

Mike Simi, Stretcher, 2014, aluminum, nylon webbing and rubber, 92 x 25 inches.

Mike Simi, Untitled (Sad Mac), 2015, permanent ink on paper, 15 x 11 inches.

Mike Simi, -100, 2016, neon mounted to plexiglass, 30 x 36 inches.

Mike Simi, The Length of My Erect Penis at 33, 2013, neon, actual size.

Mike Simi, Nike Dunk Mid Beer Boot, 2014, blown glass, 8 x 11 x 8 inches.

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, 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, 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, 2015, frozen dog food, 7 x 4 x 4 inches.