Bell'invito @ Elizabeth St
Aug
17
to Aug 27

Bell'invito @ Elizabeth St

  • Parasol Projects @ Elizabeth Street (map)
  • Google Calendar ICS
jena (1 of 1).jpg

Bell’Invito Stationers began in 2004 with the vision of fashion art director, Heather Wiese. Influenced by her time spent in Italy, she sought to create a product combining her love of traditional European style and its meticulous craftsmanship with her skill for modern design.

Heather already had an avid interest in artisanal printing, so when she unearthed some forgotten family heirlooms, among them a number of late 19th century printing presses that had been covered in dust for decades, it was the perfect opportunity to learn more about the process and see if this was exactly what she’d been looking for. Turned out, it was.

Today Bell’Invito stationery is printed using presses that date back to the late 1800’s. The Bell’Invito brand encompasses four distinct collections: Couture, Luxe, Social, and Digital Bespoke.

The level of design, quality of materials and proprietary printing techniques set Bell’Invito apart in the world of fine paper goods. Heather and the Bell’Invito team are committed to superior client service and an unpretentious approach to sharing knowledge, the joy of social entertaining and an appreciation for quality and timeless correspondence.

171 Elizabeth St
August 17-27 / 10am-7pm
Opening Event: August 17 / 6-8:30pm

View Event →
Odele Zhang: LIVE Broadcast @ Rivington
Aug
22
to Aug 27

Odele Zhang: LIVE Broadcast @ Rivington

  • Parasol Projects @ Rivington (map)
  • Google Calendar ICS
Inset painting: “James” Odele Zhang, 2017 Oil on linen, 56 in. by 36 in.

Inset painting: “James” Odele Zhang, 2017
Oil on linen, 56 in. by 36 in.

Odele Zhang: LIVE Broadcast
Curated by Pablo Barrera

Parasol Projects @ Rivington will be hosting Odele Zhang’s solo exhibition titled, LIVE Broadcast.

LIVE Broadcast features Zhang’s sometimes playful, oftentimes somber, representation of fleeting encounters with her subjects. The paintings are produced live within a set time restriction, never to exceed a single day. At first glance, her paintings connote a seemingly figurative state, but Zhang’s subjects serve to render her momentary feelings while painting, rather than the subject itself. Classical traditions of painting train us to decipher the mimetic, but Zhang attempts to capture the tense moment when the artist is transcribing the shifting visuals of the physical object by making the object reflect her ephemeral reactions toward what she observes.

The pursuit of live painting emerged as a key practice for Zhang when she progressed from her earlier reliance on photography for her animals in collage-like paintings. Zhang's earlier work distorted the common representation of nature via landscape, choosing instead to evoke nature via animals that serve as the actants of an urban landscape. By placing them in unexpected, yet rational relationships to urban settings, nature became a heterotopic place, always in the mind's eye, yet not depicted in traditional format. Her previous works ejected standard shorthand for descriptive imagery, yet, was burdened with an overabundance of digital images from which to draw from. Photography become an easy way to gather thousands of images, and Zhang vainly attempted to process the plethora of material, frustrated by their incompleteness, and disillusioned by her inability to refer back to each fragment as her art was assembled.

In her newer work, Zhang, likewise, refuses to shy away from complex imagery, but is now prioritizing the opportunity painting offers toward achieving an ephemeral impression. Zhang’s new works rely on her personal observations and visual engagement with her topics, limited by tangible factors, such as time, lighting, and the intimacy fostered between her and what her subject decides to reveal while observed. Furthermore, while Zhang’s previous works relied on digital photography to produce and reproduce her imagery, in her new works, she discards photography’s filter on how an artist “sees,” instead, aiming for a live reading of her subject’s visual reality. The digital medium served her past works well, offering layered visuals and generating composites of animals and landscapes; however, in observing the shifting colors and textures of fur and hide, Zhang particularly grappled with how a “reality” of the layers of colors in a natural environment, or of a subject in nature, could hardly be captured by pixels. The same problem carried into rendering similarly varied, changing tones of human skin and clothes; photography facilitated the denial of these complex visual elements. Painting from real life allows Zhang to process the colors and textures that light reveals over time and through motion. Her attention is now drawn to the liveliness her subjects inherently possess.

In vying for this honest, constrained impression of her subject, Zhang deviates from the scientific and ocular preoccupations of impressionist painters, per se, as well as the emotional tone of abstract expressionists. Zhang is not trying to make a mark; she is leaving the traces she has managed to retrieve at the moment of painting, while fighting the commercial illustration style that informed the surfaces of modern painters. Past artists, like J. M. W. Turner, have already championed a “real-time” or plein air painting style, but while Turner’s works use light to masterfully execute a portrayal of the atmosphere and mood of nature, Zhang is interested in the nature of the relationship between herself and her subject, acknowledging how light governs how an artist sees, and using that moment to capture her selfish pursuit of engaging by painting. In this way, Zhang is learning how she feels as she paints, and painting what she learns.

In Zhang’s new body of work, a nude painting submits to this shifting light: the subtle, but present pink and purple skin tones are exaggerated, which clash with brushstrokes eager to depict motion. Still life depictions of lemons take on a psychological aura when juxtaposed with swimming goggles, evoking the uncanny light near beaches: yellows, greens, and blues accentuate that specific character such lighting summons. Zhang’s quickly executed paintings wrench these furtive qualities, as the painting toggles between abstraction and figuration, without respecting either. We are encouraged to glimpse Zhang's perspective, whether it is musings on fruit, insights on her friends, or bemusement toward a model’s futile erection. The figurative is not enough, as Zhang aims to equally prioritize undeniable primal instincts her subjects possess and share with her. Abstraction is insufficient; Zhang is just as preoccupied with the illusory elements the combination of physical presence, shifting light, and time produces. The viewer is then invited to shed trained modes of seeing, all while wrestling with the problematic need for self-presence during our voyeuristic perusal of the depictions she provides.

Zhang's quixotic effort toward a future-oriented type of painting does not look back at the previous self, refusing to return to the last painting, but, rather, enjoying how the use of a few lines can render her moving targets. The time is there to paint, but Zhang takes great effort to generate lively images via jarring, fun tactics, before tedium directs the image toward a sort of completion. Zhang’s moment of interaction is a selfish pursuit of that notion of liberated thought, action, and attitude towards painting. LIVE Broadcast is not about the fleeting subject, but about Zhang’s fleeting attention to the subject during the limited time of interaction, depicting an internalized sense of the moment that rendered the painting in that condition.

As a short-term pop-up space, Parasol Projects @ Rivington mirrors the type of constraints that Zhang’s recent works desire to capitalize on. The compressed time limit of the show drives Zhang to discard any unnecessary projections or attempts at quotation. The limited showing compliments Zhang’s momentary engagement with the subjects she is able to paint leading up to the exhibition. As a result, the viewer is offered an equally compressed, live engagement with the works themselves.

Parasol Projects’ pop-up nature invites the audience to live in the moment and to process these paintings in an ephemeral world, grasping your attention for that moment. Come, for a live broadcast.

Odele Eleanor Zhang resides in Brooklyn, New York. For more information on her extant work, please visit: http://www.odele.co/


2 Rivington St
August 22-27 / 10am-6pm
Preview, Tuesday, August 22: 6-8pm
Opening Reception: August 23, 6-8pm
Closing Reception:  August 26, 3-6pm

 

View Event →
Mayson Gallery: Art Attack @ Bowery
Sep
13
to Sep 17

Mayson Gallery: Art Attack @ Bowery

  • Parasol Projects @ Bowery (map)
  • Google Calendar ICS

Mayson Gallery is pleased to announce Art Attack, a group exhibition of twenty-five artists curated by Artlovenyc.

Art Attack is a group show featuring street artists based in and out out New York City. Curated by Artlovenyc, the exhibition will be presented in the Lower East Side at 208 Bowery from September 13, 2017 through September 17, 2017, with an opening reception on September 13 from 6 to 9pm.

The artists featured in the show are Dom Pattinson, Vexta, ASVP, Jeremy Penn, Sacsix, JPO, Icy & Sot, BD white, Greg Frederick, Destroy Rebuild NY, Sr. Lasso, Consumerart, John Arthur Carr, Stephen Bliss, Chris Mendoza, Frida Harari Sitton, Jenna Krypell, Briana Wills, Katy Hirschfeld, Sandy Cohen, Cavier Coleman, JOpenHeART, Dedebandaid and Manserart.

Bringing together established, emerging, local and international artists, Art Attack presents artists that work across a variety of visual arts media. They create art in different forms and formats, including painting, stencil, collage, sculpture and mixed media. With this wide range of techniques and variety of ethnicity, Art Attack investigates the uniqueness and the particular voice that each artist portrays his experience within the street art world.

208 Bowery
September 13-17 *by appointment only
Opening Reception: September 13, 6pm - 9pm

Contact: Natalie Acevedo
Natalie@mayson.gallery
(516) 582-7070

View Event →
Justin Stutzman: Catch The Wind @ Elizabeth
Sep
27
to Oct 8

Justin Stutzman: Catch The Wind @ Elizabeth

  • Parasol Projects @ Elizabeth (map)
  • Google Calendar ICS
I have always been impressed with the buzzard. It is a large scavenging bird that catches thermals in order to glide thousands of feet above the ground without using up precious energy by flapping.  Scientists have long known that thermal soaring requires complex decision making within the turbulent environment of a rising column of warm air from the earth, but have yet to fully understand how this bird is so efficient at catching and utilizing the wind. 
To catch the wind; despite its challenge, is necessary for soaring

New works consist of plaster, oil, and mixed media on canvas

                                                                                                        - Justin Stutzman

171 Elizabeth St
Sept 27- Oct 08 / 11am-7pm
Opening Night: September 28/ 6-8pm

View Event →
MITCH + CO: MATEUSZ PIESTRAK @ Elizabeth St
Oct
24
to Oct 29

MITCH + CO: MATEUSZ PIESTRAK @ Elizabeth St

  • Parasol Projects @ Elizabeth (map)
  • Google Calendar ICS
"What is Contemporary", 78 x 60 inch

"What is Contemporary", 78 x 60 inch

MITCH + CO Gallery presents:
MATEUSZ PIESTRAK

Best known for blurring the line between abstraction and representation, his paintings are a record of discussion on the potential of the painting to a culture dominated by new media. The main theme is "discovering" the image. In Piestrak's paintings, the modern world makes a conversation with tradition. He paraphrases fragments of artworks by the old masters, well known from the tradition of painting. The artist chooses motives according to the non-obvious key, drawing inspiration alternately from everyday life, the tradition of painting and sculpture, achievements of contemporary artists, or juggling quotes taken from photographs. Piestrak doesn't begin his work from thinking in terms of narration - he rather strives for this construction to appear at the audience, letting the images stimulate the viewer’s memory and make them start building the story themselves. The artist drifts through his own epoch, turning the source of inspiration into fiction. By multiplying parallel perspectives, the narration in his works is always multidimensional, fragmentary, foggy and depends strongly on the individual experience.

BIO
Mateuz Piestrak was born in 1991, Poland. Graduated from University of Arts in Poznan, Poland in the Faculty of Painting under the supervision of Professor Włodzimierz Dudkowiak in 2016. The same year he was nominated to 36th edition of the Maria Dokowicz Competition – The Best Diplomas in Art 2016 (Poznan International Fair) during which he won the Grand Prix in the category of Artistic Diploma and Special Prize of the Bank PKO SA. In 2016 he get Artistic Award in the National Painting Competition New Image/New View and he was finalist of Hestia Artistic Journey Competition (2014, 2016). He lives and works in Poznan where he continues his Phd. in painting. Since 2016 he collaborates with Assembly Gallery.  

Selected exhibitions (solo and group):
2017 – Non-places, Berlin Gallery Weekend, Neukölln, Allerstrasse 15, Berlin
2017 – Now when I build, I shall begin with the smoke from the chimney, The Curators’LAB Gallery, Municipal Galleries of the University of the Arts in Poznan, Poland
2017 – MITCH + CO Gallery at SCOPE New York
2017 – Stream not found, Assembly Gallery Poznan, Poland
2016 – The Next Day, Assembly Gallery, Poznan, Poland
2016 – Can you imagine a luminous ruin?, Assembly Gallery, Poznan, Poland
2016 – BERLINER LISTE 2016, Fair for Contemporary Art, Berlin, Germany
2016 – OSTRALE, error: X, 10. International Exhibition of Contemporary Arts, Dresden, Germany
2016 – International Contemporary Art Fair ARTVILNIUS’16, Vilnius, Lithuania 2016 – The 36th edition of the Maria Dokowicz Competition – Best Diplomas UAP
2016, International Art Fair, Poznan, Poland
2016 – New Picture/New View – Finalists Exhibition, Poznan and Gorzow Wielkopolski, Poland
2016 – Hestia Artistic Journey Competition – Finalists Exhibition in Museum of Modern Art (MSN), Warsaw, Poland
2015 – Border, Nowa Gallery in Poznan, Poland
2016 – Temporary Autonomous Zone, Mona Inner Spaces, Poznan, Poland
2015 – Fallout Skies / Bad Weather, FLOW, MONA Inner Spaces, Poznan, Poland 2014 – Non-place, Fama, Swinoujscie, Poland
2014 – Liquidity of image FF Gallery, Łódź, Poland
2014 – The images of the real world, Ptapty, Poznan, Poland
2014 – Out, Art Pavilion Ergo Hestia, Warsaw, Poland.
2014 – The Competition Hestia Artistic Journey – Finalists Exhibition, Dom Towarowy Bracia Jabłkowscy, Warsaw, Poland
2013 – Woody Wood ago, Collegiate Art, Poznan, Poland 2013 – Recognition, Place of Art 44, Swinoujscie, Poland 2013 – Kontakte, Villa Zanders, Bergisch Gladbach, Germany 2013 – Areas Figure, Gallery Jesuit, Poznan, Poland
2010 – Phototeque, ShowOff, Month of Photography in Krakow, Poland

Selected awards and achievements:
2016 – Grand Prix in the category of Artistic Diploma – the 36th edition of the Maria Dokowicz Competition – The Best Diplomas in Art 2016 (Poznan International Fair)
2016 – Special Prize of the Bank PKO SA – the 36th edition of the Maria
Dokowicz Competition – The Best Diplomas in Art 2016 (Poznan International Fair)
2016 – Main Award in the Competition New Image / New View 2014, 2016 – Finalist of the Hestia Artistic Journey Competition

About MICH + CO:
Established in 2016, MITCH + CO originated from a shared passion for art and a entrepreneurial vision. After a serendipitous meeting in 2015 at an art fair, an artist and a luxury hospitality professional found themselves in the midst of a long-time dream becoming a reality.  Both spent many years calling New York City home and now each reside part time on separate coasts in charming, art & culture rich, towns. The partners bring over 20 years of experience in art, fashion, entertainment & hospitality to cultivating the evolution of the gallery. MITCH + CO focuses in contemporary art through collaborative projects with emerging and mid-career artists, curators, art dealers and institutions. The mission is to present innovative and progressive exhibitions that encourage creative experiences from the artists to the viewers.  Art is a language, a passion, an emotion, a common ground, a connector. MITCH + CO can be found at regional art fairs nationwide as well as pop up exhibitions in New York and California. We also offer consultation for public, private, and corporate collections and projects Giuliana Mottin & Erika Lane Crawford.

____

171 Elizabeth St
October 24-29 / 11am-8pm
Opening Night: Thursday, October 26 / 5-10pm.

MITCH + CO | www.mitchplusco.com | info@mitchplusco.com

View Event →
Manuela Garcés: Naughty Little Paintings @ Rivington
Oct
26
to Oct 29

Manuela Garcés: Naughty Little Paintings @ Rivington

  • Parasol Projects @ Rivington Street (map)
  • Google Calendar ICS

The “Naughty Little Paintings” series stems from a place of fervent desire, which has proven to be a recurring source of ample inspiration. Each fantasy encourages a written contemplation that later serves as a guide for drawings. Some fantasies are based on true events, others come from dreams but most take shape in lustful meditation.These sensual scenarios are composed of four layers of parchment paper apiece, each of which represents a different part of the imaginative story. The drawings are mostly conceived with eyes closed to incite the mind to drift off uninterrupted into its naughtiest corners.

Manuela Garcés (Cali, Colombia, 1987), emerging Colombo-Italian artist lives and works between Colombia, Italy and NY, where she creates pieces predominantly on parchment paper inspired by love and all its ramifications. From her love stories, lived or made up, written contemplations are born, gaining greater relevance and importance in her most recent work. The artist has exhibited in group-shows at the GRIMMUSEUM in Berlin (2012), has shown in varying locations in Cali, her hometown (2013-2014) and at the Center for Performance Research in New York (2014). Her solo shows, two of which took place in Cali, were presented at the Falso Olivo art space (2014) and the Pontificia Universidad Javeriana (2016) whereas her most recent solo show took place in Rome at the Pastificio Cerere di San Lorenzo (2016). Manuela participated at the Barcú Art Fair in Bogotá (2015), showing an extensive series composed of 105 different pieces and most recently exhibited at the Salone del Mobile furniture fair in Milan (2017). Her artwork can be found in private collections in different Colombian cities, New York, Paris, London, Rome, Milan, Shanghai and Manila.

2 Rivington St
October 26-29 / 11am-7pm
Opening Night: October 26, 6-9pm

 

View Event →