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RURI YI

Abstract Non/Binaries

Friday September 2, 2016 through Saturday October 15, 2016

Closing Reception: Saturday October 15, 2016 2pm-4pm

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OPENING TONIGHT 7pm-10pm RURI YI Abstract Non/Binaries

Friday September 2, 2016 through Saturday October 15, 2016

1715 N Calvert St Baltimore MD 21202 

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RURI YI   Abstract Non/Binaries Friday September 2, 2016 through Saturday October 15, 2016 Opening Reception: Friday September 2, 2016 7pm-10pm Closing Reception: Saturday October 15, 2016 2pm-4pm

GUEST SPOT @ THE REINSTITUTE | 1715 N. CALVERT ST | BALTIMORE MD 21202 | WWW.GUESTSPOT.ORG

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DIRTIER WORDS — BALTIMORE

February 20, through March 26, 2016

Open Reception: Saturday February 20, 2016 7pm-10pm

Closing Reception: March 26, 2016 2pm-4pm

Robert Attanasio, Marta Buda,  Karen Mainenti, Joe Nanashe, Michael Scoggins, Allison Wade

(Baltimore, MD) — Guest Spot @ THE REINSTITUTE,  is please to present Dirtier Words — Baltimore a group exhibition featuring the works of Robert Attanasio, Marta Buda,  Karen Mainenti, Joe Nanashe, Michael Scoggins, and Allison Wade.  Dirtier Words — Baltimore is a remix of VICTORI+MO and Catinca Tabacaru Gallery's exhibition, Dirty Words. The exhibition will open on Saturday, February 20, 2016 and will be on view through Saturday March 26, 2016. The Opening Reception will take place on Saturday, February 20, 2016 from 7pm-10pm. The exhibit Dirtier Words — Baltimore  is dedicated to the remembrance of Robert Attanasio.  

“This exhibition explores the aggression and sexuality ingrained in modern vernacular and inherent within American culture. We are repeatedly confronted by double entendres, and have become increasingly reliant on context and source in order to absorb true meaning. This content, often fraught with messages of fear, submission, superiority or surrender, hold various truths depending on their intention and ultimately fall on the perceptions — or lack thereof — of the audience.” — Press release Dirty Words, VICTORI+MO CONTEMPORARY

Dirtier Words — Baltimore  is emblematic of a wild and adventurous strain associated with the taboo of common parlance. The re-exhibition embodies the attempt to marry theory, politics, sexuality, pleasure, experimentation, and humor. The works debunk all humanist mythology about the grandeur of proper etiquette. The relational examination of text and non-text based vulgarity in Art History and Pop Cultureis the central focus of the collection of works.  Linguistically speaking, the eccentric, dialectical style reinforces an ironic sensibility, combined with inquiry that is provocative, humorous, and intellectually exhilarating...just like common profanity. FUCK.

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BRUNCH AND ANXIETY Paul Gagner: A Beginner's Guide to Home Lobotomy Closing Reception and Discussion: February 6, 2016 2pm-4pm

December 12, 2015 through February 6, 2016

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Paul Gagner: A Beginner's Guide to Home Lobotomy December 12, 2015 through February 6, 2016 Open Reception: Saturday December 12, 2015 7pm-10pm Closing Reception and Discussion: February 6, 2016 2pm-4pm

Guest Spot @ The REINSTITUTE is pleased to announce the solo exhibition Beginner's Guide to Home Lobotomy, by Brooklyn-based artist Paul Gagner. The exhibition will open on Saturday, December 12, 2015 and will be on view through Saturday February 6, 2016. The Opening Reception will take place on Saturday, December 12, 2015 from 7pm-10pm. The opening will coincide with Guest Spot’s holiday celebration, with a special evening of cocktails and light fare.  The exhibition will also feature the re-release of an interview between Dr. Howard Moseley, M.D. and Paul Gagner that originally appeared in The New Yorker, with forward written by Paul D’Agostino.

Modernism, the great purveyor of abstraction, has been the leading benefactor of framing the context  around representationalism as a mere arbitrary system.  Paul Gagner's paintings illustrate the tension between the modern impetus to abstraction and the resistance to direct representation, while addressing the systematic approach of authoritative critique.  The artist's psyche is culled from many directions,  usually resulting in a path in tandem with either school: representation or abstraction. Gagner’s ability to work between these distinct contradictions is a sign that the justifying rhetoric of modern intentions may have more to do with an authoritative bias against representationalism rather than relational analytics of the works themselves.

Paul Gagner’s exhibition,  A Beginner's Guide to Home Lobotomy, encapsulates the sublime relationship between art and suffering through a whimsical narrative that outlines a fate that is all too common for artists: the self-fulfilling prophecy.  The neurotic persona attributed to artists is revealed through Gagner’s disposition towards his personal estranged relationship with abstraction, which he demonstrates through a psychoanalytic perspective.  Like most artistic personas, heroism has been attributed to some sort of societal ill or conflict.  Gagner’s Dr. Howard Moseley, M.D. book cover paintings reflect the self-help franchise that foreshadowed the rapid decline of the middle class. The series of works serves as satiric analysis for vetting artists and their societal neuroses. While,  Gagner’s relationship with Dr. Moseley can be compared to necromancy, their co-dependency is intertwined beyond an earthly bond, brought together by irony and lunacy. The relationship between art and self-affliction are historic wounds that are expressed in paint,  the magnificent forms resemble the weight of seriousness that percolates behind abstraction today.  Just as irony and satire run through the veins of the human condition, an authoritative bias clogs the arteries.

Paul Gagner was born in 1976 in rural Wisconsin. He received his BFA from the School of Visual Arts in 2005, and his MFA from Brooklyn College in 2009. He has exhibited throughout the US including the Sheila & Richard Riggs Leidy Galleries at the Maryland Institute College of Art, the Housatonic Museum of Art and the Richmond Center for Visual Arts. In 2009, Gagner has four collages included in the Museum of Modern Art's print collection. Paul Gagner lives and works in Brooklyn, NY.

GUEST SPOT @ THE REINSTITUTE , 1715 N. Calvert  St,  Baltimore, MD 21202, is open Wednesdays 5 - 7pm and Saturdays 1- 4pm. For Press inquiries please contact info@guestspot.org .

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JEAN ALEXANDER FRATER: PAINTING BETWEEN THE MEANS October 3, 2015 through November 14, 2015

Closing reception: November 14, 2015  2pm-4pm Location: Guest Spot @ THE REINSTITUTE, 1715 N. Calvert Street, Baltimore, MD

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JEAN ALEXANDER FRATER: PAINTING BETWEEN THE MEANS October 3, 2015 through November 14, 2015 Opening reception: October 3, 2015  7pm-10pm Hours:  Saturdays 1-4pm & Wednesday 5-7pm or by appointment Location: Guest Spot @ THE REINSTITUTE, 1715 N. Calvert Street, Baltimore, MD

Guest Spot @ The REINSTITUTE is pleased to announce a solo exhibition by Chicago Artist Jean Alexander Frater. The exhibition will open on Saturday, October 3, 2015 and will be on view through Saturday November 14, 2015. The Opening Reception will take place on Saturday October 3, 2015 from 7pm-10pm. Guest Spot’s doors will also be open for ALLOVER STREET, with a special evening of cocktails and light fare on Friday, October 9, 2015 7pm-10pm.  An exhibition catalogue will be available featuring a forward  by Steven L. Bridges, Curatorial Assistant at the Museum of Contemporary Art Chicago (MCA).

Within the current contextual framework, it’s difficult to discuss the relevance of painting. Our means to measure the world and the objects around us derive from a timeline that evades the comprehension of our technologies. While many art practices still align themselves with the act of seeing the world through painting, gravity has taken hold of the gaze. In a culture where we are wide-eyed to our screens, we have forgotten to blink, to look up, to act, and to rise to the occasion. To engage now is a benign political act, and can even be perceived as a spectacle. It’s through this lens that Jean Alexander Frater’s work presents the tension between surrender and resolution, between the means and the in-betweens. Following the construct and path of gravity is the drip. In this way, the beauty of painting exists between the balance of submission and disobedience.

Jean Alexander Frater lives and works with her family in Chicago. Over the last few years, Frater has been focused exclusively on the materials and process of painting. Frater graduated with a BA in Philosophy, and received her MFA from the School of Art Institute of Chicago. Her work has been exhibited internationally in venues such as the Wexner Center for Arts in Columbus, El Museo Cultural de Santa Fe, the Images Festival in Toronto, Possible Project Space in Brooklyn, the Big Screen Project in New York, the Ben-Gurion airport in Tel Aviv, and the Kulturhuset in Stockholm. Frater was a recipient the Working Artists Grant, 2014; and shortlisted for the Dave Bown Artist Competition: December 2014. In the summer and Fall of 2015, Frater’s paintings are part of two group exhibitions in Chicago: Plane Figures, at The Mission Gallery and The Annual, An Exhibition of New Chicago Art, at the Chicago Artist’s Coalition.

Frater: August 28, 2015

The object of our gaze recently, has been pulled like gravity, downward. We look between our hands to a thin backlit object. Our faces aglow from a personally constructed reality, which has been both knowingly and unknowingly self-curated with each click and “like.” Our world exists not outside of the frame, but deep within it.

Someone once said that a sculpture is something you bump in to when looking at a painting. Painting is sculpture; and the world outside our frame is material. No one is looking at the walls anymore. They are looking at the ground, toward the ground. Our heads are lowered our gaze is down. We are all burdened by the gravity of our gaze. We are all bowing in prayer. Bumping into each other.

The truth is that most of our world has to be understood through the images we send to each other within the frame, and inside virtual space. The things we do and ideas we have are mediated and communicated in this way. It should not go without saying that the objects in this exhibition were initially presented and discussed in this way: virtually. Intentionally, I never brought them to Baltimore and Rod never saw them in Chicago. There is a gap, a space between our idea of a show and the reality of an exhibition.

The paintings are about the weight of materials, and how our perception of painting has changed, because our view of the world has shifted. The world is becoming more and more weightless and immaterial. The work is physical and many of the paintings are struggling or accepting that specific material reality. Gravity propels the black paint down the canvas, and the painted surface directs or changes the quality of the black line. Canvas is stretched or bent or torn or folded around a frame and the object becomes both about how it responds to this physical manipulation, as well as how the surface image helps to change it. Ideas of background and foreground are shifted, away from the surface, to the material itself.

- Jean Alexander Frater

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Awesome review by Michael Anthony Farley of our collaborative show with Guest Spot at the Reinstitute, Self-Organized - Aesthetics Politics of the Artist Run. in Art F City with kind words for Matthew Mahler, Julie Torres, Phillip Tomaru from Arts & Sciences Projects and Lauren Adams.

(via Brooklyn to Baltimore: A Celebration of Artist-Run Spaces)

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TRANSMITTER & GUEST SPOT @ THE REINSTITUTE PRESENTS:

ARTIST RUN ART FAIR 1714 N Charles Street, Baltimore, MD SELF-ORGANIZED — AESTHETIC POLITICS OF THE ARTIST RUN (Art Fair Booth) Friday, July 17, 2015 though Sunday, July 19, 2015 Fair Hours: Friday & Saturday: 11am - 9pm ; Sunday: 11am - 6pm

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Gentrification, Two Cities, and the Artist’s Model: A Forum for Open Discussion Saturday, July 11 at 2pm – 4pm Guest Spot at The Reinstitute 1715 N Calvert St, Baltimore, Maryland 21202 Gentrification, Two Cities, and the Artist’s Model A Forum for Open Discussion Saturday, July 11, 2015 2pm – 4pm Guest Spot @ the REINSTITUTE will be hosting an open forum discussion entitled Gentrification, Two Cities, and the Artist’s Model on Saturday July 11, 2016 from 2-4pm. The talk will take place in conjunction with the closing reception for Work in Progress on in Progress Work, A Photographic Survey of Downtown Brooklyn and The Devil in the Details. The artists will be present to discuss the work and to facilitate a conversation on the positive and negative effects of practicing in diverse and evolving communities. Artist and Professor Jan Razauskas will moderate the discussion. Special guests include Baltimore artists Zoë Charlton, Catherine Borg, Jason Hughes, along with Brooklyn artist/curator Carl Gunhouse and Brooklyn photographer /publicist Jason John Wurm. We will explore the strong interplay between two key topics: (1) the revitalization of Baltimore, particularly as a hub for the arts and (2) the changing attitudes towards pursuing an arts practice in New York. Given the current state of both cities, it’s important to focus on: – What are the attributes that influence artists to stay in a place? Which attributes are the reasons for them packing up and relocated? – How is gentrification affecting artists living in different urban contexts? – How can these communities leverage their existing assets to transcend the barriers imposed by wealth and influence? – What sectors or partners – either public or private – are potential allies for arts communities? What are the benefits and drawbacks of these arrangements? We invite you to be a part of the discussion. We hope that this initiates a broader community conversation that deepens the understanding of the term gentrification and its meaning for places like Baltimore and Brooklyn. ~Special thanks to our Curatorial Intern; Taylor Shuck for help in additional research and organization. Work in Progress on in Progress Work, A Photographic Survey of Downtown Brooklyn, & The Devil in the Details May 30, 2015 through July 11, 2015 Closing Reception: Saturday July 11 , 2015 2pm-4pm    

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The Devil in the Details, works by Jason Hughes May 30, 2015 through July 11, 2015 Opening Reception:  Saturday May 30, 2015 7pm-10pm Hours: Saturdays 1-4pm & Wednesday 5-7pm or by appointment Jason Hughes is an interdisciplinary artist with an emphasis on sculpture, drawing, and print media. For the last several years his research has focused on the history of American economic power and its influence over cultural representation in the United States. His creative practice is quite diverse including textiles, collages, and cast sculptures from shredded currency; a series of large scale prints that are ornate abstract composites of money; and sculptural objects from appropriated street barricades used for crowd control. His work addresses issues of high and low craft, production and trade, as well as shifts in representation and the perception of value. Jason Hughes is an artist and curator based in Baltimore, MD. He received his BFA in sculpture from the Maryland Institute College of Art in 2004 and attended the acclaimed AICAD New York Studio Program during the fall of 2003. He is currently a MFA candidate in the Intermedia and Digital Art program at UMBC. Hughes has exhibited his work both nationally and internationally since 2005. In 2014, his work was selected for an exhibition at Marianne Boskey Gallery curated by Mera Rubell as well as the exhibition Washington Color Abstraction at the Gabarron Foundation Carriage House Center for the Arts curated by Donald Kuspit. His artwork has been featured in the New York Times, New American Paintings, and Art in America. 

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Work in Progress on in Progress Work, A Photographic Survey of Downtown Brooklyn, & The Devil in the Details May 30, 2015 through July 11, 2015 Opening Reception:  Saturday May 30, 2015 7pm-10pm Hours: Saturdays 1-4pm & Wednesday 5-7pm or by appointment Guest Spot at THE REINSTITUTE  is proud to present  Work In Progress on In Progress Work, a group project exhibition by Maureen Drennan, Carl Gunhouse, Matthew Schenning, and Jason John Würm. In conjunction, Guest Spot Project Gallery will feature The Devil in the Details, a series of works by Baltimore-Based artist, Jason Hughes. Opening Saturday May 30, 2015 (7pm-10pm) the works will be on view through July 11, 2015. A discussion entitled Gentrification, Two Cities, and the Artist’s Model will examine the various roles that have been associated with artists, and will be held in conjunction with the closing on July 11, 2015, 2-4pm. Work In Progress on In Progress Work has been documenting the changing landscape of Downtown Brooklyn over the last four years, cataloging over 1,500 images to its blog. Work In Progress on In Progress Work was started by photographer Jason John Würm, a long-time resident of Fort Greene, Brooklyn.  Jason routinely photographed on his daily commute through Downtown. In 2013, in hopes of documenting the changes in the neighborhood, he proposed a collaborative project with fellow  photographers Matthew Schenning, Carl Gunhouse and Maureen Drennan. The other members of this collaborative reside elsewhere in Brooklyn, no more than a few miles from Würm and Downtown. The parameters of the project are to photograph whatever struck each artist's eye, within a circumference of about a half a mile from the Fulton Mall, in the hopes that they might give collective voice to the rapid gentrification of the area. “Bringing this exhibition to gallery walls allows for something the city does not—pause. Its impermanence speaks by its very nature to the essence of the project, and allows for introspection, education, and awareness of the impact that urban renewal has on residents both new and old. The images in this catalog now serve not only as an archive, and a record, but as still frames that allow us time to examine the complexity of each frame; each moment that are such tiny fractions of the vastness that make Brooklyn the thriving place that it is.” -Rose Wind Jerome, Program Associate, The Center for Photography at Woodstock “Those images — of gleaming new apartment towers, police arrests, storefronts, street characters and interesting, only-in-the-neighborhood parking situations — take a nonideological, documentary look at life around Downtown Brooklyn, which the real estate industry has been trying to rename DoBro. ‘The gentrification story is a very sensitive topic as a whole,” Mr. Würm said. “But we hope the show conveys some sense of the environment and how things are moving along.’” -The Birth of DoBro, Photographs of a Gentrifying Downtown Brooklyn, Alan Feur /New York Times Maureen Drennan received an MFA from the School of Visual Arts in 2009 and her work has been in exhibitions in North America and Australia including the Rhode Island School of Design Museum, Chelsea Art Museum, Silvereye Gallery, Newspace Gallery, Centotto Gallery, and The Wild Project. Her images have been published in The New Yorker, ARTnews, California Sunday Magazine, as well as being featured in Photograph Magazine and The New York Times in 2011 and 2014. She has received honors from Aperture, Photo Review, PDN, Photographic Resource Center of Boston, Humble Arts, Artist as Citizen, and Camera Club of New York. She currently teaches at the International Center for Photography and LaGuardia Community College. Carl Gunhouse (b.1976) was born in Boston, Massachusetts, but he spent his formative years in suburban New Jersey. Growing up, he developed a love/hate relationship with suburbia that led to the angst familiar to most suburban youth. With this unrest came the discovery of the anger and DIY ethics of hardcore punk rock. Yearning to be part of the hardcore scene, he started photographing bands, which began his love of photography. To escape suburban New Jersey, Carl enrolled at Fordham University in New York City. While completing a BA in European History at Fordham, he discovered that photography could be something to pursue a career so he decided to simultaneously complete a BFA in Photography. After going on to earn his MA in American History from Fordham, Carl concentrated on street photography. In hopes of developing and refining his photography work, Carl completed his MFA in Photography at Yale University. Since graduating, he has found a great deal of personal satisfaction teaching as an Adjunct at Montclair State University, Cooper Union, Marymount Manhattan College, and Nassau Community College. He has also gained some renown for his straightforward writing on photography for such web sites as Searching For the Light, Lay Flat, and American Suburb X. His photography has been shown nationally and internationally. As an artist, he has produced a body of landscape and portrait photographs by driving around the United States to expose the little visual bits of America that give voice to our shared history and experience. Carl currently lives and works in Brooklyn, NY. Matthew Schenning is a Brooklyn based photographer originally from Baltimore, MD where he spent his youth playing in the abandoned spaces under highway overpasses. He photographs the landscape with a large format camera favoring the slow and deliberate way of working, seeking to understand his own relationship to his surroundings. Most of his work purposely avoids specific markers of place and seeks to interject a bit of humor and poetry into the imagery of the everyday. He has been included in exhibitions in the United States and Europe. His work was featured in the first edition of The Collector’s Guide to Emerging Art Photography published by the Humble Arts Foundation and most recently in the exhibition catalogue for If This Is It published by Waal-boght Press. Born in Downey, CA to parents in the US Army, Jason John Würm spent his childhood living throughout the US and Germany. He settled in New York City in 2001 to study photography and earned his BFA in Photography from SVA. Würm utilizes a documentary style of photography to record the ephemeral around America. In his belief that photography is best understood through practice, he has amassed an extensive archive of images, predominantly made in NYC and Brooklyn. His work has been exhibited nationally and published in The New York Times and The New Yorker. In 2012, Würm founded Waal-Boght Press to promote straight photography through annual publications. AN ONGOING PHOTOGRAPHIC SURVEY OF DOWNTOWN BROOKLYN 2010 - 2015. ©2013 Jason John Würm, Carl Gunhouse, Matthew Schenning, Maureen Drennan. All rights reserved. Unauthorized reproduction is prohibited. http://dtwnbklyn.tumblr.com

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ERIC DOERINGER TIME AND AGAIN

March 27 – May 2, 2015

GUEST SPOT @ THE REINSTITUTE

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ON KAWARA SILENCE  

ERIC DOERINGER ECHOES TIME AND AGAIN  

February 7 – March 1st 2015 March 27 – May 2, 2015

  GUEST SPOT @ THE REINSTITUTE GUGGENHEIM MULHERIN NY presents SILENCE ECHOES TIME AND AGAIN by Eric Doeringer. The exhibit opens Friday March 27, 2015 work will be on view through May 2, 2015 . The opening reception will be held Friday March 27, 2015 from 7pm-10pm. Through radically restricted means, On Kawara’s Eric Doeringer’s work engages the personal and historical consciousness of place and time. Kawara’s Doeringer’s practice is often associated with the rise of Conceptual Appropriation art, yet in its complex wit and philosophical reach, it stands well apart. Organized with the cooperation of the artist, On Kawara – Silence Eric Doeringer – Echoes TIME AND AGAIN will be the first full representation of Kawara’s Doeringer’s artwork to explicitly delve into the themes of time and repetition. The exhibition will include date paintings (Inspired by On Kawara) , spot paintings (after Damien Hirst) and Doeringer’s updates of Andy Warhol’s Brillo Boxes, Campbell’s Soup can paintings, and 8-hour filmic portrait of the empire state building. On Kawara’s Eric Doeringer’s paintings were artwork was first shown at the Guggenheim Museum MULHERIN in the 1971 international Exhibition 2006. Guest Spot in 2012. Over 40 8 2 years later this large exhibition will transform the Frank Lloyd Wright rotunda – itself a form that signifies movement through time and space – MULHERIN NEW YORK GUEST SPOT @ THE REINSTITUTE into a site within which audiences can reflect on an artistic practice of cumulative power and depth. Works will be added to the gallery until the exhibition closes on March 1. Works will also be posted to http://echoes2015.tumblr.com/ through May 3.

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JUAN FONTANIVE Reflected Yeses (detail). Acrylic and polymer on welded aluminum. 64x80x7.5in. 2015.

JUAN FONTANIVE TOGETHER PRINCIPLE February 11 – March 4,  2015 Opening Reception: Wednesday, February 11th, 6 - 9 pm

We are pleased to present “Together Principle,” the first solo exhibition of Juan Fontanive at Y Gallery.  The artist will present a series of new works resulting from his latest explorations on the notions of flatness and three-dimensionality after observing the self-organizing mechanisms of nature in space. The title reveals the artist’s interest in conceiving the exhibition as a whole in which the different works are arranged to be viewed with and through each other. Fontanive has been studying the efficient way nature organizes matter through space. This designing force is what models ecology – life forms interspersed throughout space. In the artist’s own words: A forest disperses its light-collecting, for instance, in high trees, mid-level bushes, grass, then low-lying moss, all to collect sun from different levels of the atmosphere - maximizing the spacial area in an efficient way. In the spirit of this designing principle, Fontanive creates seemingly flat forms or sculptures - from drawings - extended through space. The perception of these objects - thick and thin lines, black, white, and textured colors - creates a physical layout that investigates our innate way of processing visual information, ultimately related to our ability to recognize objects and movement through space. In an increasingly flat, virtual world, the exploration of our innate sensitivities to actual space and flatness— space in flatness and flatness within space—becomes vital. Various sculptures in the show were created from previous drawings the artist has translated into a three dimensional artifact. Fontanive's expanded drawings into objects, combined with their texture suggests a flattened yet three-dimensional plane. The drawing, the object of the drawing, and their interaction with each other, bring the imagery full circle, in order to explore the aforementioned designing force - one that is ever moving forward. Most of these works are painted in thick impasto paint (a medium historically related to painting), emphasizing their connection. All the works are conceived as a unit of structures to be explored together. The “movement”— another key axis of Fontanive’s work— is also developed in the exhibition, since all of the works imply it in a way, even the movements of the viewer while interacting with the works, has been considered by the artist in his idea of creating a unique perceptual experience. Juan Fontanive was born in Cleveland, Ohio in 1977. In 2004 he was granted the Desmond Drawing Prize and in 2006 he received an MA in Animation from the Royal College of Art, London. In 2010 he was shortlisted for the Jerwood Painting Prize. He has exhibited at Kinetica Museum (2006), Royal Academy of Art, London (2006), The Royal College of Art London (2006), Contemporary Art Society, London (2012),The New Museum (2013), Williamsburg Art & Historical Center, New York (2013). His work is part of important collections such as the Lodevans Collection and the Francis H Williams Collection. Download Press Release

Y Gallery 165 Orchard Street New York, NY 10002 info@ygallerynewyork.com / 415 636 0760