September 26th - November 15th, 2014
Reception: Thursday, October 2, 6 - 8pm
Reception: Thursday, October 2, 6 - 8pm
June 12th - August 30th, 2014
All Different Colors
The Center for Creative Works
The Creative Vision Factory
James Jameir Andrews
“Queen” Nancy Bell
Alonzo Troy Humphrey
Samuel Abu Sesay
Arthur Eric Stewart
May 8th - May 11th, 2014
The Outsider Fair
548 West 22nd Street, NY
3-6pm Early access
April 11th - June 7th, 2014
Department of Neighborhood Services
Isaac Tin Wei Lin
Fleisher/Ollman is pleased to announce Department of Neighborhood Services, a three-person exhibition with Isaac Tin Wei Lin, Dan Murphy (both live and work in Philadelphia), and Barry McGee (lives and works San Francisco). The artists have been familiar with one another’s work for over a decade, having shown or collaborated together in a number of contexts including exhibitions, publications, and in the public realm. All have an interest in graffiti through direct involvement in marking outdoor surfaces, documenting it photographically, respecting its history and traditions, and incorporating graffiti’s energy and sensibility into their work.
March 6th - March 9th, 2014
The Armory Show 2014
Pier 92, New York
Peter Attie Besharo / James Castle / Felipe Jesus Consalvos / William Edmondson / Phil Frost / William Hawkings / Chris Johanson / Sol Lewitt / Isaac Tin Wei Lin / Julian Martin / Barry McGee / Dan Murphy / Badrinath Pandit / Philadelphia Wireman / Luis Romero / Eugene Von Bruenchenhein / Bill Walton / Joseph Yoakum
February 21st - April 5th, 2014
In Exile Sun, Tristin Lowe (b. 1966, Boston, lives and works in Philadelphia) presents a solar system anchored by a star fashioned from denim jeans, whose form is realized by inflation. Orbiting the star are a host of works that reference the cosmic/sacred (metal and neon comets) and the body/profane (articulated foam legs). Both jeans and inflation technology have been touchstones for Lowe. Worn jeans--in this case family castoffs--are like skin, a stand-in for the body. They reflect the individuality of their previous owners through scars, tears, patches, and wear marks. Here, Lowe plays with several ideas that he has investigated over time: sacred geometries realized through lowly means (in this instance, the star shape), the body and the senses, abject domesticity, and creation narratives. Stars, through a balance of nuclear chain reactions, simultaneously implode and explode in order to generate life-giving energy. Lowe, using jeans shaped to form a star, conjures the elegance of implosion and explosion, the cycle of birth, death, and regeneration. The jeans are fused together at the waist, suggesting that the absent torsos have disappeared into each other (implosion) but their inflated legs suggest the radiant energy of a star (explosion). Adding further resonance to the idea of the star as life-giver, Lowe's ongoing use of air/inflation is another metaphor for creation: the idea of breathing life into limp fabric and plastic forms has been pursued by Lowe over the years in works such as Alice, 1998/2011 (a 19-foot tall cyclops Alice in Wonderland), Dumbo, 2001 (a pink elephant), and Mocha Dick, 2009 (the albino sperm whale).
Lowe's star-shaped jean sculpture merges the abject with the philosophical, raising questions about our place in the universe. During Lowe's Smithsonian Artist Research Fellowship in 2012, he studied hypervelocity stars or "exiled stars"--refugees from black holes. An exiled star is the renegade twin of a binary star that has been explosively ejected by a black hole (its companion has either been absorbed into the hole or continues to orbit it). Literally becoming a shooting star, the exiled star brings along its own solar system of planets and matter on its unfathomably fast journey, flying through space at speeds as great as two million miles per hour. Exile Sun, with its combination of scrappy and elegant sculptures orbiting a denim star, is Lowe the tinkerer's take on this astronomical phenomena that physicists are just beginning to understand.
Throughout his career Lowe has mined the crude and rude, the absurd and abject, and the mundane and metaphysical in pursuit of tentative answers to deep questions about our place in the universe and the meaning of existence. Playing the role of the garage hobbyist cum alchemist, Lowe employs jerry-rigged technology transforming humble objects that rise above the quotidian and venture into the realms of the philosophical, the scientific, and the occult.
December 13th, 2013 - February 12th, 2014
Reprefantasion: Abstracting Reality/Representing Fantasy
Reprefantasion presents two pairs of artists: one abstracts the real (Kate Abercrombie and Becky Suss) while the other depicts the unreal (Sarah Gamble and Kinke Kooi), revealing tension and symbiosis between abstraction and representation, reality and fantasy. The artists presented as “abstractors of the real” are not simply realists who de facto take up the position of abstraction through the gesture of painting or drawing the visible (any attempt at representation is, of course, ultimately an abstraction), but rather, artists who in some way abstract reality as a means to relate idiosyncratic, often highly personal narratives. Kate Abercrombie and Becky Suss (both Philadelphia-based) demonstrate this tendency. Kate Abercrombie appropriates images from popular culture and family history transforming them into handpainted collages. Becky Suss’ paintings are at first glance realistic, but abstraction undergirds her practice both formally (she loves grids, patterns and monochromatic surfaces) and conceptually in that the reality she represents is filtered through the gray zone of memory, using her grandparents’ domestic interior as her point of departure.
The other pairing features artists Sarah Gamble and Kinke Kooi who represent fantasy, painting or drawing scenarios that are conjured in the subjective recesses of their minds. They may work representationally--even at times realistically--but they do not depict things that belong to our known world. Just as “abstracting reality” embraces abstraction and representation simultaneously, “representing fantasy” explores similar terrain. In an expressionistic, loosely gestural style, Sarah Gamble (Philadelphia) creates unsettling compositions of strange characters of unknown species obscured by abstract webs and mists of spray paint, among other fantastical yet foreboding presentations, many with paranormal overtones. Kinke Kooi (Amsterdam) plays the yin to Gamble’s yang in terms of style. Her tightly rendered, subtly sexual drawings engage with notions of the feminine. Often realized on pink paper, Kooi’s drawings buzz between confectionary delights (think French macarons) and organ-like forms evoking Surrealist dreamscapes.
October 10th - December 7th, 2013
Eugene Von Bruenchenhein
Time Produced Non Better
Reception: Thursday, October 10, 6-8pm
This exhibition will provide a sampling of the breadth of work made by Eugene Von Bruenchenhein (1910–83), the Milwaukee-based, self-taught artist, active from the early 1940s through the early 1980s. Living in a modest house, which served as both a studio and exhibition space, with his wife and muse, Marie, he created a world of highly original beauty steeped in an idiosyncratic synthesis of non-Western art and architecture, girly magazine archetypes, theories of cosmic genesis, and current events like the Cold War fear of nuclear annihilation. Time Produced Non Better presents Von Bruenchenhein’s signature ceramics; a selection of paintings of imaginary architecture and fantastical botanical imagery; pinup-inspired black and white photographs of his wife; and rarely seen 35mm color slides of Marie and arrangements of completed art works photographed in the artist’s backyard, presented in a slideshow format.
A 1947 hand-colored photographic self-portrait by Von Bruenchenhein is inscribed by the artist’s hand with the following: “Edward the first king of lesser lands/Time cannot touch/He moved ten centuries/A fortress of good/Time Produced non [sic] better.” While we can surmise that this statement is an homage to his father, Edward, the text’s superimposition on Von Bruenchenhein’s own image suggests his belief in his own greatness, a kind of icon of self-proclaimed genius. One might be struck by the artist’s self-confidence—after all, he was a man of lesser means, a baker who lived frugally (he began the profession in 1944, shortly after marrying Marie, and retired in 1959 due to health reasons). His steadfast ego belied the fact that he remained unrecognized as an artist outside of his family and close friends, rarely exhibiting his work during his lifetime, though his practice spanned more than four decades. In order to make his art, however unacknowledged that pursuit was, he inhabited two different worlds—one workaday and the other a realm of artistic fantasy. The latter was made real through a tireless nocturnal work ethic, in which he sometimes collaborated with his wife Marie.
His interest in a wide-range of ideas, from the origins of the universe to Asian architecture to poetry and philosophy to amateur archaeology and horticulture, beget a staggering range and number of works. Von Bruenchenhein photographed his wife in a variety of erotic and exotic poses and contexts—part pin-up girl, part princess. He created ceramic sculptures including crowns, vessels composed of leaf patterns, and delicate flowers—all made from clay sourced from local construction sites, fired in the couple’s small parlor stove, and often spray-painted with automobile enamel. He made chicken bone towers inspired by both Khmer temples discovered in the pages of National Geographic as well as Sam Rodia’s Watts Towers, which he read about in his local newspaper. He created sculptures of mask-like heads made from concrete which he displayed outdoors. He painted fiery energy bursts conjuring epic events like cosmic genesis and the birth of otherworldly creatures with homemade brushes, his own fingers, sticks, bits of cloth, and combs. Later in life, Von Bruenchenhein focused his efforts on paintings of visionary architecture, echoing his bone towers as well as the leafy arches of his earlier clay vessels.
Von Bruenchenhein, along with several other self-taught artists, is featured in the 2013 Venice Biennale, The Encyclopedic Palace, June 1–November 24, and was recently included in The Alternative Guide to the Universe, Hayward Gallery, London, Summer 2013, and Great and Mighty Things: Outsider Art From the Jill and Sheldon Bonovitz Collection, Philadelphia Museum of Art, Philadelphia, Spring 2013.
September 19th - September 22nd, 2013
THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART.
September 19–22, 2013
June 13th - August 30th, 2013
New Wine New Bottle
The Dufala Brothers
Isaac Tin Wei Lin
Fleisher/Ollman’s second exhibition in its recently- opened Arch Street location showcases new work by a selection of gallery artists. While the exhibition highlights a wide range of distinct practices, when seen collectively surprising resonances and inter-relationships come forward, putting into relief ideas such as the urban landscape, mythologies of popular culture, art and narrative, contemporary abstraction, and the primordial.
The Dufala Brothers and Dan Murphy explore what we might call the urban forlorn, looking to the postindustrial landscape of Philadelphia for inspiration. The Dufala Brothers engage ideas of consumption, re-purposing, and use-value, particularly evident in their sculpture and drawing, while Murphy trains his camera lens on both the intentional and accidental manner in which urban environments offer themselves to be read.
How popular culture is received and digested informs the practices of Nick Paparone and Anthony Campuzano—Paparone’s sculputures play with the manner in which goods are branded for different types of consumers, while Campuzano’s drawings revel in the idiosyncrasies of how we transform and personalize the messages of the mass media. Like Campuzano, Jennifer Levonian is attuned to how narratives form our identities. Working in cut-paper animation, Levonian engages with everyday life by focusing on events that often go unnoticed, transforming them into humorously bizarre narratives.
Isaac Tin Wei Lin, Kate Abercrombie, Mark Mahosky, and Chris Corales each have their own particular take on abstraction, but none are standard-bearers for abstraction with a capital “A.” Lin investigates the realm where representation and buzzing abstraction meet using invented calligraphic scripts and colorful patterns. Mark Mahosky presents a group of striped, abstract paintings on panel and newspaper. Their raw imprecision serves as a foil to Abercrombie and Lin’s more exacting methods. Chris Corales’ collages upend our usual assumptions about the medium as a more-is-more strategy by creating minimal works from a variety of scavenged papers that underline a kinship with abstract painting.
Tristin Lowe and Paul Swenbeck share a mutual interest in the primordial, myth, and the occult. In this exhibition, Swenbeck showcases new sculptures that combine his signature ceramics with wire and magnet spine-like forms that suggest animal/plant hybrids. Lowe has long pursued a certain life-giving rationale in his art making, breathing life into mythological and cartoonish inflatable sculptures. In New Wine New Bottle, Lowe examines the origins of life itself with a neon comet. Once considered heresy, scientists are now embracing the idea that life on earth originated from organic molecules inside a comet’s icy core which were released into Earth’s primordial seas billions of years ago upon impact with our planet.
April 18th - June 8th, 2013
Grand re-opening reception:
Thursday, April 18, 6-8pm
ARTS PROJECT AUSTRALIA
THE CREATIVE VISION FACTORY
Outsiderism explores the various manifestations of so-called outsider and self-taught art in a contemporary context, examining the frameworks we use as both viewers and artists in making sense of the impulses responsible for a wide range of artistic creativity. Outsider, self-taught, disabled, visionary, obsessive, art-as-therapy, vernacular--these are some of the categories we utilize, fraught as they might be, to sort out a vast array of work which stands in relief to the offerings made by artists who are more easily assimilated within mainstream contemporary art. In recent years, the contemporary art world--artists, curators, and institutions--has become increasingly interested in exploring notions of the "outsider." More and more we see this work thrown into the mix, even witnessing collaborations between "professional" and self-taught artists. Outsiderism will explore this recent turn and include works by artists with developmental disabilities and behavioral health issues from studio programs in Melbourne, Australia (Arts Project Australia) and Wilmington, Delaware (The Creative Vision Factory); paintings by Paul Laffoley exploring complex theories through diagrams, display charts and geometrically structured compositions in which text and image are woven together; drawings by Gregory Blackstock that catalogue and classify objects and ideas important to the artist from foreign alphabets and speed boats to flags and fireworks; Harrell Fletcher and Chris Johanson's video collaboration with David Jarvey, an artist with Down's Syndrome; and drawings of protest and political allegories by Michael Patterson-Carver, an itinerant artist and activist.
Outsiderism inaugurates Fleisher/Ollman's new gallery space, next door to the Fabric Workshop and Museum, and coincides with an important exhibition at the Philadelphia Museum of Art, Great and Mighty Things: Art from the Jill and Sheldon Bonovitz Collection, March 3-June 9, 2013.
March 7th - March 10th, 2013
The Armory Show
12th Avenue between 52nd and 54th Streets
New York, NY
December 13th, 2012 - January 26th, 2013
A True Fiend's Weight
Known for his hilarious art world send-up YouTube video series Art Thoughtz, hosted by the artist's alter ego, Hennessy Youngman, Jayson Musson has recently made the leap into the world of abstract painting. However, the works that will be on view at Fleisher/Ollman are technically not paintings at all, but recycled Coogi sweaters mounted on stretchers and transformed into pictures. Coogi sweaters are wildly colored knit garments popularized in the 1980s by Bill Cosby and later, in the 1990s, by the rapper Notorious B.I.G. In Musson's hands, the so-called purity of abstraction collides with African-American popular culture. Simultaneously, Musson pushes the cultural significance of the Coogi brand toward an idealized abstraction. In this friction, the artist provides fresh avenues for us to think critically about abstract painting and its relationship to lived experience.
October 4th - December 1st, 2012
Felipe Jesus Consalvos
Fleisher/Ollman presents its third exhibition devoted to the work of the Cuban-American artist Felipe Jesus Consalvos, curated by Jasmin Tsou, owner and director of JTT, New York. The exhibition will focus on decoding the images and language found within Consalvos’s cryptic work, incorporating possible source materials, vintage advertisements, photographs, and Masonic artifacts. Born outside Havana in 1891, Consalvos immigrated to the United States around 1920. Engaging head-on with American popular culture through the lens of an anthropologist/outsider, Consalvos’s collages also explore more arcane images from American history, including the symbolic universe of the Masonic order.
September 20th - September 23rd, 2012
EXPO CHICAGO 2012
The international exposition of contemporary and modern art and design
Navy Pier, Chicago
June 14th - August 24th, 2012
A Complete Die, etc.
curated by Anthony Campuzano, featuring work by Kate Abercrombie, John Finneran, Zach Harris, Karen Kilimnik, Anissa Mack, Mark Mahosky, Jessica Mein,. and Justin Michell
May 17th - June 8th, 2012
Fleisher/Ollman is pleased to announce 60/60. On view will be a diverse group of works by sixty artists reflecting the gallery's sixty year history of exhibiting ethnographic, folk, self-taught and contemporary art.
Select artists in the exhibition include: Terry Allen, Felipe Archuleta, Eddie Arning, José Bedia, Peter "Charlie" Attie Besharo, Emery Blagdon, Arthur Carles, James Castle, Felipe Jesus Consalvos, Chris Corales, William Edmondson, Howard Finster, Tony Fitzpatrick, William O. Golding, Alexis Gritchenko, William Hawkins, Marcy Hermansader, Morris Hirshfield, Jesse Howard, Jennifer Levonian, Isaac Tin Wei Lin, Tristin Lowe, Justin McCarthy, Dan Murphy, Jayson Musson, Joan Nelson, Jim Nutt, Nick Paparone, Philadelphia Wireman, Pablo Picasso, Elijah Pierce, Martin Ramirez, George Rouault, Clarence Stringfield, Paul Swenbeck, Bill Traylor, Eugene Von Bruenchenhein, August Walla, Bill Walton, Joseph Yoakum, with Oceanic, Pre-Columbian, African, and Native American works.
April 5th - May 12th, 2012
Billy and Steven Dufala
Fleisher/Ollman is pleased to announce F, Steven and Billy Dufala's second solo exhibition with the gallery.
Brothers and artistic collaborators, Steven and Billy Dufala are engaged in a practice that is marked by a fearless embrace of new techniques and commitment to experimentation. Beautifully crafted abstract and representational drawings, paintings, sculptures and installations are often an emotional response to material, process and environment. Consumption, efficiency, cliche, and failure are investigated through humor and exaggeration. On view in this exhibition will be small and large-scale graphite drawings and watercolors that are in dialogue with singular sculptures and a site-specific installation.
February 23rd - March 31st, 2012
You, Me, We, She
Becca Albee & Kathleen Hanna
Art Book Club
Tammy Rae Carland
December 15th, 2011 - February 18th, 2012
Dor and Oranur
For his third exhibition at the gallery, Paul Swenbeck presents Dor and Oranor, comprised of two sculptural tableaux of a prehistoric drama. On the largest "stage" in the main gallery, ceramic works that appear more flora than fauna are engaged in a symbolic battle for life. Otherworldly in color and form with towering stems and spindly tendrils, these predatory animals are easily confused for flowering, alien-like plants. Adjacent to this main installation, the artist will install a cave-like ritual space that might belong to man's earliest ancestors. Orange and blue lighting and a sound piece created in collaboration with Aaron Igler add to the strange and dramatic atmosphere of the installation. With darkness and humor, Swenbeck evokes life's energy and cycles in the most ambitious installation of his work to date.
Joan Nelson is well known for her paintings that incorporate multiple pictorial landscape traditions and pay homage to and borrow from artists such as Albrecht Altdorfer, Albert Bierstadt, George Caleb Bingham and Casper David Friedrich. Occupying a unique place in the long history of landscape painting, Nelson's works simultaneously speak to the experience of landscape and the complexity of representation, artfully incorporating reality, memory and mediated experience.
At Fleisher/Ollman, fifteen works from a series of constructions or boxes that have never before been exhibited will be on view. Initially inspired by Salvador Dali's 1934 work, The Little Theater, Nelson began to push her paintings further into the realm of objects by exaggerating space by separating parts of the landscape onto different planes. Using the folk art tradition of reverse painting on glass, Nelson embraces the surprise and inventive nature of this technique as she depicts a cave, grove of trees, cold stream or lush field. Each work is comprised of up to six layers of glass that are housed within a homemade wooden box, itself painted and considered. Inside the boxes, Nelson completes the dioramas by stashing various trinkets and souvenirs such as moss, rocks, sticks, glitter, toys, glass ornaments and beads, and mirrors. The resulting works are gem-like, mysterious and infinite, despite their intimate scale.
October 19th - December 11th, 2011
Things That Do
A group exhibition with Philadelphia Wireman, Emery Blagdon, and African power objects
September 8th - October 15th, 2011
Accents for the Self-Made Man
Nick Paparone's Accents for the Self-Made Man is the second iteration of an evolving work that anatomizes the "branding" of persona in the current American moment. Working with the systems of mass culture and marketplace, Paparone isolates various signs, objects, opportunities and attitudes in an exhibition that is complete with goods, marketing collateral and a series of PowerPoint presentations.
Dan Murphy is a self-taught Philadelphia artist whose poetic visual practice encompasses making, collecting, cataloguing and presenting. This exhibition at Fleisher/Ollman will include found objects, along side a selection of photographs, collages and assemblages. The images and objects have in common one primary thing-- that they meet the artist's idiosyncratic criteria for "perfection" and are on exhibition so that they will not be overlooked. Partially challenging the idea of ownership, Murphy often photographs or remakes desirable or distanced objects so that he is able to revisit and recontextualize them in a way that their creators or owners could never imagine.
June 10th - August 6th, 2011
Introspective / Retrospective curated by Chris Johanson: Chris Corales, Joe Turner and Christine Shields
Reception June 10th
**with musical performance at 7 pm**
May 7th - June 5th, 2011
March 31st - April 30th, 2011
The usefulness of useless things
“I am not going to do anything useful anymore, I do not want to, I cannot, so I will do useless things. All of sudden, a new world opened up for me.” -Janette Laverrière (1909-2011), from an interview with Vivian Rehberg, 2009)
Around the age of eighty, after more than sixty years as a designer, Janette Laverrière began making “useless things.” This exhibition examines five artists-Laverriere, Michel Auder, Guy de Cointent, Stefanie Victor and Eugene Von Bruenchenhein- who re-invent, re-imagine, and re-purpose the use, meaning and worth of functional objects in daily life and domestic space. The result of these endeavors often begins with the implication of a utilitarian object: a vessel, a newspaper, a handkerchief, a mirror. However, these objects change from implying a use we know to registering as “useless” or non-functional, acquiring a new use dictated by the artist.
the usefulness of useless things is curated by Jonathan Berger and will include significant works by the participating artists as well as historical ephemera related to their various practices.
February 24th - March 26th, 2011
Fleisher/Ollman is very pleased to announce an exhibition of sculptures by the late artist Bill Walton. This exhibition surveys wall and floor works made from the artist's spare vocabulary of basic materials and subtle interventions.
January 20th - February 19th, 2011
Off Camera surveys photographic works that have been drawn on or painted, animated, collaged or made into sculpture. The exhibition includes a wide range of artists who set aside photography’s conventions, instead relying on invention when the media or the world does not meet expectations.
Participating artists include: Felipe Jesus Consalvos, Anthony Campuzano, Micah Danges, Lee Godie, Oliver Herring, Jessica Mein, Dan Murphy, Joe "40,000" Murphy, Brion Nuda Rosch, Virginia Poundstone, Martina Sauter, Miroslav Tichy, Isaac Tin Wei Lin, Letha Wilson, May Wilson, John Wood, Amelie von Wulffen.
December 9th, 2010 - January 15th, 2011
Lee Arnold, Sarah Gamble, Andrew Gbur
Lee Arnold often uses systems or processes to approach sublime imagery. While his output is rather ordered, the subject material is oppositely emotional or romantic (mountains, the sea, shadows, travel). For example, the 204 images that make up the large-scale piece Shadows (1:15 - 4:36pm, June 16, 2010) are captured using a pinhole camera. The artist allows the parameters of the medium and mechanics of the device to poetically capture momentary shifts in shadows across pavement. Alternatively, the hand of the artist is evident in Flags, but the forms and colors are dictated by the symbols found on international maritime flags.
Sarah Gamble's intuitive mark-making is guided by a personal aesthetic vision that reveals an animistic landscape, where non-sequitur logic and non-linear thoughts create gray areas between fact and fiction. Raw color, sinewy lines and murky, abstracted forms expose imagined communication, time travel, paranoid evaluations and investigations. For example, Gamble's painting Magic Brain depicts a disembodied brain floating in nature, perhaps caught in the moment of its abduction.
Andrew Gbur's works are often graphic, formal and flat and contain, among other things, obscure imagery, replicas of stripes and monochromatic passages of bold color. The artist counts among his varied interests the concept of haecceity, reproductions and originals, duration, space, the history of image-making, elusive counter-culture characters and music. Two new large monolithic canvases covered with grip-tape dominate the walls, as well as a bright yellow "screen printed" floor piece that mimics the architecture of Gbur's studio.
September 23rd - November 27th, 2010
Fleisher/Ollman is pleased to announce Four Decades, organized on the occasion of gallerist John Ollman's 40th Anniversary at Fleisher/Ollman. Four Decades will feature a diverse group of works by numerous artists, each selected by Ollman, reflecting the gallery's extensive and unique exhibition history which ranges from ethnographic, folk, and self-taught, to contemporary art.
September 9th - September 10th, 2010
Your Swimming Brain
Using video/slide/overhead/shadow/homemade projectors and stereos/boom boxes, local and regional artists projected videos, images and sounds onto the walls, ceilings and floors of Fleisher/Ollman's gallery space. A chaotic critical mass will grow into a powerful and lively synthesis of multi-directional, yet simultaneous imagery and sound.
June 17th - August 20th, 2010
John J. O'Connor
Fleisher/Ollman is pleased to present drawings, paintings, collages and select sculptures by John J. O'Connor.
John J. O'Connor creates works that meander through a complex course. From a starting point in personal data (the artist's weight), chance (the roll of a die or winning lottery numbers) or statistics (the largest peaks and falls in the history of the U.S. stock market, or results from a Gallup poll concerning public confidence in the government), O'Connor's works, made from graphite, colored pencil, paint and found materials, are composites of quirky decisions, seemingly illogical tangents and obscure codes that end in a practice that is as much an homage to visualizing information as it is to pure abstraction. While giving form to formless information and pattern to seemingly patternless data, the artist simultaneously gives abstract mark-making some quantitative and measurable meaning.
making, joining and repairing
Also on view will be intimate, patterned goauche paintings on paper and a wall-sized digital print by Kate Abercrombie.
Often using the basic warp and weft structure of the weaver's loom as an anchor for her compositions, the artist lays down repeating geometric shapes to dissolve the rigid axis from which she works. A reference to printed fabric, the shapes comply with the patterns beneath while subversively overshadowing their presence. In select works, quirky imagery, inspired by Alexander Girard's collection of toys, dolls, and religious folk art, are formed through slight tonal shifts in color. In others, the shallow surface remains purely abstract, bringing to mind the complex pattern repeats made possible by grids of pixels. Though carefully built upon the organizing principles of geometry, nothing in Abercrombie's work seems to stay put for very long; the images and compositions maintain a fluctuating, fugitive presence, dissolving just as quickly as they appear.
May 6th - June 12th, 2010
All Right-Still! is Anthony Campuzano's third solo exhibition at Fleisher/Ollman. Referencing past work, the studio practice, lessons learned, artistic folklore, and personal sources of inspiration (music, newspaper headlines), the artist undertakes a monumental investigation into looking and making through various artistic tropes and frameworks. A new work completed in 2010 and entitled, Studio Soul Scene Circa Two Thousand and Eight, is a drawing inspired by a photograph of Campuzano's studio. A sculptural work, Unpainted Painted Sculpture, comments on how Clement Greenberg imposed his will on David Smith's painted sculptures through neglect. Another work pays homage to Campuzano's former drawing teacher, Elena Sisto, the Spanish artist Juan Gris and his 1919 portrait of the poet Max Jacob, now in the collection of the Museum of Modern Art.
Her Slip is Showing
For her first solo show with Fleisher/Ollman, the artist debuts two new animations and a series of watercolors used in their making. Buffalo Milk Yogurt features a man who has a nervous breakdown in a gourmet supermarket while a naked woman practices yoga in a display of fall pumpkins. The piece is accompanied by an original soundtrack by Corey Fogel, a multimedia musician and performance artist based in Los Angeles. Her Slip is Showing uses the mundane ritual of a bridal shower to touch on gender roles, social awkwardness and evolving relationships. Her Slip is Showing features music by Nathan Parker Smith as well as text by poet Polly Pauley.
March 31st - May 1st, 2010
Annabeth Rosen: Contingency
Meiling Hom: Yun Nan = Southern Clouds
Paul Swenbeck: Shaker Legend-trip
Fleisher/Ollman presents work by three artists for whom clay plays a central role in their artistic practices. Annabeth Rosen builds complex organic works out of thousands of individually hand-crafted ceramic pieces of varying size, shape, color and pattern. Mei-Ling Hom’s new ceramic work, made in North Carolina with self-taught potter Dan Johnston, continues her ongoing contemplation of cloud imagery and metaphor. Paul Swenbeck will present an installation of ceramic sculptures that will take viewers to various sites of folklore, magic, and belief, from the Salem witch trials to places of Wiccan practice.
March 4th - March 7th, 2010
The Armory Show - Modern
New York, NY
February 25th - March 27th, 2010
Nameless and Reverberating
Fleisher/Ollman is pleased to announce a solo exhibition of new drawings, collages and constructions by Chicago artist, Luis Romero.
Romero's flat works, mostly graphite and pen on paper, betray an interest in visual contradiction. Empty surfaces give way to false depth and concentrated lines appear to form tangible shapes. While demonstrating Romero's awareness to Op Art and modernist formalism, these drawings are equally grounded in a personal mark-making practice.
On view as a complement to Romero's work will be a selection of small collages by Ray Yoshida, a central figure in the visual arts of Chicago, a mentor and friend to the Chicago Imagists, and, of particular relevance, Romero's teacher at the School of the Art Institute of Chicago.
January 21st - February 16th, 2010
A Place Near Here
Fleisher/Ollman is very pleased to announce Isaac Tin Wei Lin's solo exhibition, A Place Near Here, which includes new two- and three-dimensional works, as well as collaborative pieces created by Lin and 25 fellow artists.
Lin is as influenced by his Chinese heritage (he is the first of his family to be born in the United States) as he is by American street and popular culture. In A Place Near Here, the artist continues his exploration of multiplicity and interstices. The works, a frenzy of calligraphic-like pattern, musical notation, cartoon cut-outs, and bright color, span traditional categories of painting, printmaking, assemblage, collage, sculpture and installation. The artist's repetitive mark-making, inspired by such things as Xi'an terracotta soldiers, ant colonies, and the artist's training in Mandarin Chinese, where for homework vocabulary words were written over and over, creates meaning and space through accumulation.
Chicago-based noir artist, Don Colley, transforms the gallery's window with an installation of his print work.
December 10th, 2009 - January 16th, 2010
I Don't Watch the Internet
Fleisher/Ollman is pleased to present I Don't Watch the Internet, a group exhibition featuring nine Philadelphia artists: Gabriel Boyce, Cari Freno, Jordan Griska, Jay Hardman, John Broderick Heron, James Johnson, Sarah Laina Koljonen, Sebastien Leclercq and Ashley John Pigford.
October 15th - December 5th, 2009
Back to Earth: Revisiting Magiciens de la Terre
Reception: Saturday, October 17, 2-5pm
Our season opens with an homage to John Ollman's favorite exhibition, Magiciens de la Terre, the 1989 exhibition organized by Jean-Hubert Martin and presented at the Centre Georges Pompidou and the Grand Halle at the Parc de la Villette. Our tribute will be akin to the original exhibition format and include equal numbers of artists from the "centers" and from the "margins."
June 18th - August 29th, 2009
Fleisher/Ollman is pleased to announce an exhibition of works selected by Will Oldham, the prolific singer-songwriter who most often records and performs under the moniker Bonnie Prince Billy. Frenz, on view June 18 through the end of the summer, will include the work of artists: Shary Boyle, Able Brown, Lori Damiano, Kyle Field, Jill Gallenstein, Sammy Harkham, Alan Licht, Ashley Macomber, Joanne Oldham, Leslie Shows and Spencer Sweeney.
May 14th - June 13th, 2009
Paul Swenbeck and Tristin Lowe
Mocha Dick in the Invisible World
Tristin Lowe and Paul Swenbeck share a common vantage point inspired by Yankee ingenuity and a love of the disappearing natural world. Lowe continues his work in felt, making the mundane detrius of casual consumption into a ghost shadow of inscrutable beauty. For his part, Swenbeck creates ceramics and metallic alien plant forms that grow into the unused corners of the gallery. This show presents a phantasmagora of ideas-from ghost nets filled with the flotsam and jetsam of extinct specis, to magic circle still-life, to science fiction birth allegories-taking the two artists and viewers across boundaries of hope and believability.
April 9th - May 9th, 2009
The exhibition of new work by Bruce Pollock includes paintings which use geometric patterning in shifting levels of scale to explore color, luminosity and infinite space, and a new ink drawing that diagrams the transformation of geometric figures over its 20 foot length.
March 5th - March 8th, 2009
The Armory Modern
Pier 92, New York, NY
February 27th - March 28th, 2009
Steven and Billy Blaise Dufala
Steven and Billy Blaise Dufala, artists, collaborators, and brothers, will have their first solo show at the gallery, Trophy, which explores the "piles of things we no longer need," that are discarded en masse, and those things that we value unnecessarily and perhaps, with unnatural fervor. The concepts of use-value, sentimentality, exaggeration, and shelf-life, among others are explored though a darkly humorous and trash-picked lens. Steven was a founding member of the experimental, performative band, Man Man, in which Billy currently plays flute and saxaphone. In 2008, they were named as one of ten finalists for the West Prize.
January 22nd - February 21st, 2009
"Rich Text" opens on Thursday, January 22 with a reception at the gallery from 6pm to 9pm, and will be on view through February 21, 2009. The show includes work from contemporary artists whose use of text varies from single words to involved narratives, anti-aesthetic to highly designed, powerfully specific to poetic and nonsensical. In some cases, text retains its communicative power, while in others, it dissolves into form and object, blurring the line between looking and reading. The artists featured in the exhibition include Conrad Bakker, Mel Bochner, Natasha Bowdoin, Anthony Campuzano, Alex Da Corte, John Evans, Trenton Doyle Hancock, Mark Lombardi, Mark Mahosky, Jayson Musson, John O'Connor, Justin Quinn, Trevor Reese, Isaac Resnikoff, Kay Rosen, Josh Shaddock, Jack Sloss, Bob and Roberta Smith, Jina Valentine, Wayne White and Andrew Jeffrey Wright.
December 11th, 2008 - January 17th, 2009
You Open So Late, You Close So Early
Curated by Amy Adams, Patrick Blake, Claire Iltis and Heather Shoemaker, the 2008 Juried Winter Show features David Clayton, Jeremy Drummond, Billy & Steven Dufala, Charles Hobbs, Nick Lenker, Alex Lukas, C. Pazia Mannella, Nick Paparone, Josh Rickards, Mark Stockton and Shawn Thornton. The show opens with a reception on Thursday, December 11, from 6 to 9PM.
October 10th - December 6th, 2008
Castle in Context
Fleisher/Ollman Gallery is pleased to announce the first exhibition of the gallery's 2008–2009 season, "Castle in Context." As a counterpoint to norms of categorization and distinction, the exhibition places James Castle in the context of art historical discourse by enabling the viewer to connect the artist's soot-and-spit drawings and found-object constructions with the work of contemporaries, many of whose practices were (or are) firmly rooted in the art world. Castle, who was born profoundly deaf and never learned to speak, read or sign, remained isolated from these mainstream communitites.
This exhibition aims to complement the James Castle retrospective at the Philadelphia Museum of Art, the first comprehensive museum exhibition of the artist's work.
June 5th - August 31st, 2008
A CLEANER HEART A DO IT
New work from Jennifer Levonian, Matthew Rich, Bill Walton and Casey Watson
April 25th - April 28th, 2008
The Merchandise Mart, Chicago, IL
April 18th - May 29th, 2008
New work from Alex Da Corte and Jack Sloss, two Philadelphia artists. Includes works in neon, bronze, wood, plaster, found objects, photographs, paintings, film and video.
March 14th - April 12th, 2008
Group show of large-scale wall works from Kate Abercrombie, Charles Fahlen, Isaac Lin, Mark Mahosky, Bruce Pollock and Mark Surface.
February 2nd - March 8th, 2008
2000 Years of Sculpture
This exhibition brings together the work of sixty-one artists spanning multiple cultures and more than 2000 years. Featuring Pre-Columbian and Han Dynasty ceramics, 18th Century Staffordshire, and works from both local and international luminaries including: Niki de Saint Phalle, Joseph Cornell, William Edmondson, Annabeth Rosen, Duncan Hewitt, Kehinde Wiley, Ken Price, TODT, Margaret Wharton, and Edgar Tolson.
December 14th, 2007 - January 26th, 2008
5th Annual Invitational curated by Claire Iltis, Heather Shoemaker and William Pym
Stephanie Beck, Andrew Brehm, Gregory Brellochs, Jamie Dillon, Andrew Gbur, Jennifer Levonian, Yvonne Lung, Ryan McCartney, and Eva Wylie
Reception Friday, December 14th, 6–9PM
November 1st - December 8th, 2007
Felipe Jesus Consalvos
More Colossal Greatness
Newly released work from the estate of Felipe Jesus Consalvos
Drawing and collage works created in response to the war in Iraq.
September 20th - October 27th, 2007
Note on Door
Fully illustrated catalog available.
May 31st - July 31st, 2007
GOOD FUNKY MILES
April 20th - May 19th, 2007
TODT AFTER NEXT
March 19th - April 14th, 2007
Tilykke Lille Fugl
Group exhibition of young Danish artists. Curated by Nis Bysted, William Pym, & Claire Iltis.
February 8th - March 15th, 2007
"Simply put, dark matter is matter that cannot be seen with any type of telescope, but it can be detected through its gravitational effects. Humbling because they do not know what it is."
December 15th, 2006 - January 27th, 2007
curated by Claire Iltis and William Pym
November 9th - December 9th, 2006
From Time to Time
Video, Film, Sound, Sculpture, Photography
October 5th - November 4th, 2006
His first solo gallery exhibition.
June 21st - August 1st, 2006
Rip, Rig, and Panic
New work by Anda Dubinskis, Mark Khaisman, and Isaac Resnikoff
May 6th - June 10th, 2006
March 11th - April 29th, 2006
Rock Paper Scissors: American Collage Now
An investigation of 100 years of mixed-media practice, including Terry Allen, Anthony Campuzano, James Castle, Felipe Jesus Consalvos, Joseph Cornell, Marcy Hermansader, Jess, Ray Johnson, Paul Laster, Philadelphia Wireman, Bruce Pollock, Isaac Resnikoff, Luis Romero, Anne Ryan, Ruth Thorne Thomsen, Thomas Vance, Jina Valentine, Purvis Young, and Ray Yoshida.
March 11th - April 22nd, 2006
An off-site curatorial project in collaboration with Matthew Marks Gallery, at the 521 W 24th St. space.
January 27th - March 4th, 2006
The Police Are Here!
Silent Satire: The Political Cartoon Appropriations
December 9th, 2005 - January 26th, 2006
The 3rd Annual Survey of Young Philadelphia Artists.
Curated by Greaves, Pym & Valentine.
December 7th - December 10th, 2005
Booth collaboration with Karen Lennox Gallery, Chicago. Primary artist, Isaac Resnikoff.
November 10th - December 14th, 2005
Mr. Anthony Goes to School
Off-site collaborative project between the artist and his young students, Levy gallery, Moore College of Art and Design.
October 15th - November 19th, 2005
The Shadow of the Leaf Cannot Touch the Ground
Off-site exhibition at Annet Gelink Gallery, Amsterdam, the Netherlands.
October 8th - November 12th, 2005
We Run Out Of Continent
October 1st - October 2nd, 2005
The Intuit Show of Folk and Outsider Art
August 27th, 2005 - March 5th, 2006
Floating Mountains, Singing Clouds
Perspective Installation at Arthur M. Sackler Gallery, Smithsonian Institute, Washington, DC.
June 17th - July 23rd, 2005
White Room Solo Exhibition
"Portrait of Mae Brussell" and other drawings installed at White Columns, New York.
June 13th - June 17th, 2005
Art 36 Basel
Revised version of "Fabulous Histories: Indigenous Anomalies in American Art" for the Switzerland fair. Curated by Greaves, Pym, and Valentine.
June 10th - July 8th, 2005
One Thousand Subtractions
Summer Selections I
New Work by Donald O. Colley, Huston Ripley, and Linda Stoudt.
May 3rd - June 4th, 2005
Symmetry & Myth
In association with Waqas Wajahat, New York. Catalogue available.
Emblems of Nature
In association with Waqas Wajahat, New York. Catalogue available.
February 5th - March 8th, 2005
Group exhibition featuring key works from the gallery’s collection, including William Edmondson, Bill Traylor, William Hawkins, Jess, Jon Serl, and the Philadelphia Wireman.
December 10th, 2004 - January 22nd, 2005
The 2nd Annual Survey of Young Philadelphia Artists.
Curated by Greaves, Pym & Valentine.
December 7th - December 10th, 2004
Primary artist, Anthony Campuzano.
November 8th - November 11th, 2004
Primary artist, Luis Romero.
October 21st - November 19th, 2004
Fabulous Histories: Indigenous Anomalies in American Art
A curatorial project for Harvard University’s VES Department and Carpenter Center, this exhibition outlined the shared conceptual and formal concerns of nine self-taught and trained artists: Jim Nutt, Martin Ramirez, P.M. Wentworth, Christina Ramberg, James Castle, Luis Romero, Jess, Felipe Jesus Consalvos, and Anthony Campuzano.
Curated by Greaves, Pym, & Valentine.
October 11th - October 12th, 2004
The Intuit Show of Folk and Outsider Art
October 5th - November 20th, 2004
Felipe Jesus Consalvos
Inaugural show of collage and assemblage by the Cuban-American artist. Catalogue available.
July 1st - July 31st, 2004
Summer Group Show
May 10th - June 20th, 2004
New paintings and works on paper.
March 6th - April 9th, 2004
Site-specific installation ("Floating Mountains, Singing Clouds")and new sculptures and drawings.
December 10th, 2003 - January 20th, 2004
The New Acropolis
1st annual invitational of young Philadelphia artists.
Curated by Greaves, Pym and Valentine.