CHRIS VANCE | March 2, 2018 5:00-9:00 Exhibiting artists: Antwain Clarke, Kenneth Hall, Gary Kelley, TJ Moberg, Scott Charles Ross, Lucas Underwood, and Aaron Wilson and Tim Dooley.
Winter Group Show 2017
30+ Gallery artists on exhibit
The created flora and fauna of the Winter Group Show is as varied as any region and geography. And the abstract works included here depict an inner or strictly manifested world that is as welcoming as vast lands or sky ranges we might look out onto or up into. Which is exactly what we do at the new year: look ahead, assessing signs, putting forward hopes, resolving to remember, so that we can see and make future more clearly.
This show of digital images on multiple substrates offers art as geography—these works are intimate studies of various natural phenomena and environments. Luchsinger and Strohbeen are prolific, and thus are able to produce, image by digital image, a whole world for its viewers, representing the bucolic and the urban.
Jordan Weber’s show, Crabs in a Bucket, is broad: large-scale works, big on culture and history, large on social, and wide on dearth of justice. His paintings and mixed-media installations are not-so-subtle civil orders of a particular disobedience, and those orders stand or loom tall, depending on your position.
Featuring work by Bart Vargas, Conn Ryder, Justin Beller, and Jeffrey Thompson, Four Solos II brings many textures, forms, and media together to affect any and all of our four humours. The visual and the visceral conjoin to shine in this new light of summer, and also to fan our sensibilities in the shade of thoughtful artworks.
Andrew Abbott | John Phillip Davis | Travis Rice | Senid Tabakovic
April 27, 2017
Moberg Gallery’s second exhibit of 2017, Four Solos I, features work from Andrew Abbott, John Phillip Davis, Travis Rice, and Senid Tabakovic. The gallery’s previous exhibit created a temporal focus—duration, exposure, documentation, and memory. Four Solos I creates a more spatially concerned whole, with a notable transition from earthly works, in both media effect and landscape pieces, to abstract works that conjure digital screens and atomic-structural compositions. From geological to geocentric, these studies of shape and figure, built and shattered, are compelling for their insight and range.
Wendell Arneson | Mary Jones | Richard Kelley | Peter Shellenberger | Dallas Guffey | Jolynn Reigeluth
March 3, 2017
This first exhibit of 2017, Reflex, on view through Saturday, April 15th, shows Chris Vance fresh and focused, delivering new works that pinpoint, float, discard and conjoin previous styles. Also on view are works by Mary Jones, Peter Shellenberger, Jolynn Reigeluth, Dallas Guffey, Richard Kelley, and Wendell Arneson. This show is curated to create a space of reflexivity and rumination, and in doing so, surveys local and historical truths. It is an essay that emerges a possible thesis: making America again.
Artists include: Leslie Bell, Derrick Breidenthal, Catherine Dreiss, Fred Easker, Bev Gegen, Mary Jones, Larassa Kabel, Richard Kelley, Matthew Kluber, Tom Moberg, Dan Perry, Jesse Small, Senid Tabakovich, Madai Taylor, and Jordan Weber. In addition, eight new artists are showing with Moberg for the first time: Wendell Arneson, Sarah Grant, Julia Katz, Igor Khalandovskiy, Doug & Eileen Leunig, Jonathan Pearson, and Conn Ryder.
UpSpeak, curated by Larassa Kabel, holds so much power in its images, objects, and performances, both individually and collectively, that the gallery feels supercharged—just as individual women, and women together, have and gain strength. The works Kabel chose for inclusion in this exhibit are dynamic and discursive, and prove to create a unique lens through which to see.
Weber takes the exhibition title, NGC 6052, from the “peculiar” galaxy of the same name, which is considered a new resultant galaxy born of collision in the constellation Hercules. In both shows, Weber addresses issues of economic and social justice, parity, and racial unity. On any day, these can be Herculean goals; given ongoing and escalating current events, the goal of understanding and unifying what can only metaphorically be reduced to two cyclonic groups, however, can feel Sisyphean.
Make Their Gold Teeth Ache promises a provocative array of work to stimulate our thinking on this important contemporary topic with deep historical roots. The exhibition gathering of works by artists who might provide illumination, in theory or practice, on how blacks view themselves through white perspectives while maintaining our own self definitions.