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2003
Exhibition Schedule
Artists Choose
Artists, January 23 - February 28, 2003.
Six-person group show.
Three artists who have previously exhibited at the Courthouse
Gallery each introduce to our audience a new, emerging artist
whose work they admire. David Brickman chooses Benjamin Chadabe; Darra Keeton
chooses Matt Blackwell; John McQueen
chooses Margo Mensing.
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David Brickman
Benjamin Chadabe
Matt Blackwell
Darra Keeton
John McQueen
Margo Mensing
Installation by
Timothy Blum, March
22 - April 25, 2003. Blum transforms everyday
materials and objects into extraordinary installations which
force us to reevaluate the familiar: A carpet turns into a
tongue, tobacco leaves become a camel, a car is molded out of
aluminum foil. His fascination with machinery and his amusing
observations on human folly combine to create physically blunt
meditations on the social world.
3-Person
Exhibit with Drawings by Warren Craghead, Sculpture by Judy
Stevens, Paintings by Saudia Wadud
May 17 - June 20, 2003. The general theme of this
three-person exhibit is the process free-association, which
results in art that is surprising, quirky, spooky, and fun all
at once. Craghead’s collage drawings use a of mix written
thoughts, post-it notes, colored paper, and sketches of objects
and places as a means of spontaneous storytelling. Stevens is
mesmerized by the goofy craft books from the early 70’s. Her
artworks begin as crocheted yarn projects and morph
spontaneously into strange, intricate and beautiful objects. In
contrast Wadud looks at free association from the outside. Her
paintings are a series of studies of a psychoanalyst in his
study, sitting, thinking, reading, examining furniture (the
means by which he encourages free association), yet the
actual subject, the patient, is oddly absent.
Paintings by
Deborah Newey Ferreri, July
12 - August 15, 2003. Ferreri’s small
intricate paintings are inspired by the fine details and
patterns in Medieval European art and decorative art from other
cultures. She imagines the stories objects in a room could tell.
The awkward architecture in a room affects the narrative; the
inanimate objects seem to come alive. The works capture
those moments when the simplicity and comfort of daily life is
altered into a place of uncertainty, longing, or fear.
Paintings by
Bill Mead and Sculpture by Tim Clifford, September
13 - October 17, 2003. Clifford and Mead use
dramatic juxtapositions of architectural reference to create
psychological nuance. Clifford's sculpture and drawings use
unusual points of view to show how architecture imposes order on
natural space. Mead’s abstract paintings feature milk cartons,
houses and brick walls against contrasting fields of bright blue
and orange. Both artists reveal a unique sense of order, logic
and geometry in their intuitive investigations of place.
The
Metroland voted this exhibition as one
of the “Best in the Small Venues” for 2003.
Paintings by
Deborah Zlotsky,
October
30 - December 5, 2003. “My
attention to the physicality of the objects, to the description
of space and light, and to the sensory aspects of illusionism
are all vital to the language of still life painting; however,
I’ve also found the delicacy and complexity of that language
conducive to exploring narrative ideas in subtle and playful
ways, particularly in the visual dissonance of re-contextualized
imagery and the tension between illusionism and the materiality
of paint…. The newest paintings are still lifes of single
objects: some contain reproductions of art, some refer to the
natural world and some record my son Max’s drawings. Each
cultural object—a video, a calendar, a plastic placemat—attracts
and dismays me, and the paintings allow me to sort out my unease
with, but my desire for, an engagement with the culture that
surrounds me.”
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