Monday, September 29, 2014

Full House East - Reception This Friday

Our long-running group show was initiated by David Rich and Paulette Myers-Rich in St Paul Minnesota back in July as Full House West. The show migrated to our gallery in Park Slope Brooklyn in early September, and it will remain up until November 2nd.

Please join us on Friday, October 3rd at 6PM for a reception for the artists.

Location Details Here
Download the Press Release (pdf)
Exhibition Homepage

Jim Denomie, Attack on New Ulm, oil on canvas 26 x 32” 2012 
It is a wonderful thing that all events on canvas are manifestations of the individual and the particular. And it may be interesting as well to see if painting might engage with the thought that affords this wonderful thing in the first place. Abstract painting should put itself to the task of forcing a historical showdown with postmodern thought. We should seek from abstraction the space that was opened by postmodernism. We should ask if this new “abstraction” is not the postmodern painting that never happened. 
Jim Denomie’s painting opens up some of this disturbing depth. Adorno said in a famous lecture, “The images of our life are guaranteed through history alone.” He was attacking the essentialism and transcendental woo-woo in German philosophy in 1931, and philosophy has not been the same since that attack. Adorno forced a confrontation of philosophy with its existential conceits; he rejected the idealist formulations of “reality” and “being” that were fashionable at the time. 
This is not to say I like Denomie’s painting because it is “relevant” or “about something” or because it reminds me of the 19th century Indian art at the Cowboy Museum in Oklahoma City. It is no documentary piety that draws me to the painting. But because the painting invokes history and horror, this is what courts a certain kind of aesthetic adventure. I don’t really care what history or what horror it is. The mordant cynicism of the Lakota chief riding in a convertible through some disturbing actual event … this hatches a space that is dialectical and not coupled to some immanent, breathless, present moment. We are in need of that dialectical space. 
— from the catalog essay by Ethan Pettit 

Todd Bienvenu, Talking About Abstract Painting, oil on canvas, 2013

Jim Denomie
Eugene Hyon
Elisa Jensen
Barbara Kreft
Barbara Lea
Eliot Markell
Arlene Burke Morgan
Clarence Morgan
Marcy Rosenblat
Patricia Satterlee
Alkemikal Soshu
Patrick Todd
Jeanne Tremel

Barbara Lea, Illicit Lunch, oil on canvas 16 x 16” 2011 

Sonam Rinzin, Yanchenma, brushed ink on paper, 29 x 32 in. 2014

David Rich, Call and Response and Charlie's Corner, oil on canvas, 2014

Thursday, August 21, 2014

Thangka Painting with Sonam Rinzin Starts Sept. 20

Starting Saturday, September 20th, renowned artist and teacher Sonam Rinzin will be giving classes on the Tibetan art of Thangka painting and drawing at the gallery in Park Slope, Brooklyn. See details here.

Friday, July 11, 2014

Full House West - Opens July 25th in St. Paul, MN

Full House West, a visual dialogue between painters from Saint Paul, Minnesota and NYC, brought together by Paulette Myers-Rich and David Rich, opens on Friday, July 25th. This show coincides with Full House (east), which will commence in August and run through September 2014 at ethan pettit gallery.

exhibition home page
exhibition catalog (pdf download)
facebook invitation
photos of opening night in St. Paul
video of the St. Paul show

Jim Denomie, Attack on New Ulm, oil on canvas 26 x 32” 2012
Barbara Kreft, JCH, oil on canvas 8 x 8” 2014
Todd Bienvenu, The Space Between Us, oil on paper 15 x 13” 2014
Marcy Rosenblatt, Moonshade, oil on canvas 16 x 16” 2012

Gili Levy, gouache on canvas, 30 x 25 in. 2014
Elisa Jensen, Flushing oil/canvas 8 x 10” 2014
Robert Egert, Will You be Calling In? oil, charcoal, acrylic, pigmented glue on linen 24 x 30” 2014

Sunday, June 29, 2014

Summer Hours: By Appointment Only

From June 29 through the month of August, the gallery will be open by appointment only.  Regular weekend hours will commence again on Saturday, September 6.

Monday, June 16, 2014

Barbara Friedman - Closing Party

Please join us on Sunday, June 22, from 6PM-midnight, at a Closing Party for Barbara Friedman's show DEPORTRAITURE.

Location details are here.

Thursday, June 5, 2014

KB in Venice

Pool Cue Archery Bow Cello from 1981, is one of a large group of Ken Butler's pieces now on display in Art or Sound, a survey that spans four centuries of musical instruments and curiosities.

The mere fact that the esteemed founder of "Arte Povera" Germano Celant has chosen to put Ken Butler in any show is a cause for comment, never mind what the show is about. As it happens this is not exactly an Arte Povera show, but rather an historical survey of musical objects from over the course of four centuries. It is, however, a bit of a curatorial "spill" in the manner of Arte Povera. Very old decorative artifacts and sundry pieces of Weimar whimsy are rolled out into the company of objects from the historical avant-garde.

Antiques are pressed into the service of conceptual art, and all the objects in the show concern "the relationship between art and sound" or the "iconic aspect" of musical instruments. Never mind the context or the century of origin of anything, there is a theory that carries them all in a Prada handbag, whose foundation is sponsoring the show. So it is a good chance to see some beautiful and interesting objects from all over the map, and some really dull moves from the 1970s as well.

Adolphe Sax, Natural Trumpet, 1866–84, brass

But I will say this, Ken Butler's "hybrid visions" stand up to an Adolphe Sax trumpet or a dazzling old street organ, as much as they stand out against the stylistic uniformity of most of the avant-garde and postmodern representation here. Butler really is a new species in the art world, and in Venice it shows. His work has old world charm, and it looks and feels snappy in the generally mortified acres of assemblage art of our times.

I'll venture that Butler's work is the lynchpin of this show. His work is historically sensitive to the older artifacts. It responds to the antique functional objects as well as it does to the newer and patently art historical pieces. And what's more, Ken Butler's instruments are thoroughly and all about the confluence of objects and sounds.

Musical Chairs, roto-picker (for 8 chairs and channels) concept drawing 23.5 x 18 in. 2005. See enhanced album of these drawings.

Rifle Cello, exhibited at Test-Site in Williamsburg, early 1990s

Art or Sound, June 7 - November 3, 2014
Ken Butler's page on our website

Monday, May 19, 2014

Deportraiture: Recent Paintings by Barbara Friedman

April 20 - June 29, 2014
Opening Reception: Saturday, April 19, 6-9PM

Barbara Friedman, Cropped Gertrude, oil on linen 2014

Press Release (pdf download 4.6 MB)
The “portrait” has been Barbara Friedman’s idiom of choice in recent years, and yet portraiture is only one dimension of what the critic Lilly Wei calls, without exaggeration, a “formally inventive” approach to painting. These are instinctive and erudite paintings, and they summon a formidable range of strategies. Friedman sets up her easel in museums and pretends to copy the old masters, a trope she associates with “lady” painters. Then comes a subtle but unrelenting process of distortion, destruction, and recovery.

Friedman is a professor at Pace University, a resident of lower Manhattan, and a veteran of the East Village scene. I met Barbara a few years ago when she visited our showroom in Bushwick. Soon after that she became represented at our gallery, and since then she has also showed at Valentine, Studio 10, and Storefront Ten Eyck. Her unearthly portraits have cast a prolonged gaze into this inscrutable demimonde. They are tuned to the habits and the jitters of people who prowl the galleries of Brooklyn and downtown at the present time. And this quality sets them off, distinguishes them as a keen synthesis of painterly and temporal issues.

We are thrilled to be opening Deportraiture on April 19th, a large show of Friedman’s recent work. This show will occupy the front and back rooms of our gallery, it is a thorough display of the work of a painter who has already made a strong showing in Brooklyn. We are honored and proud to host this show, and I hope you will join us for the opening.

— Ethan