JANUARY 23 – FEBRUARY 25, 2017
OF THAT TIME, OF THAT PLACE
ARTIST RECEPTION: Friday, February 3, 6:00 – 8:00 PM
This winter Pentimenti Gallery warmly welcomes you to our first exhibition of the year, Of That Time, Of That Place.
We encounter new images every day of our lives. The vast majority of these moments we forget almost instantly. They are filtered out of our minds, allowing more space to efficiently process and recall new experiences and memories that are important to us. Its in these encounters that we remember where we find true meaning in our lives.
This group exhibition is intended to bring together the unforgettable work of artists we have most recently encountered.
Ted Larsen’s work is created with minimalist ideas to explore the nature of materiality. His studio practice goes against the norm of trying to establish a single theme or overarching agenda, and instead thrives within spontaneity and experimentation. His use of repurposed “non-art” materials forms the basis for a constantly new kind of ready-made. Larsen sees great importance for a High Art practice to examine the elegance of formal structure while bringing modernist pure shapes back down to Earth.
Ted Larsen is an internationally exhibiting artist and Pollock-Krasner Foundation recipient with a BA from Northern Arizona University. His work has been exhibited widely in museums in the US, including the New Mexico Museum of Art in Santa Fe, The Albuquerque Museum, The Amarillo Museum of Art, The Spiva Center for the Arts in Joplin, Missouri, and the Philadelphia Museum of Art, as well as in over eighty gallery exhibitions. He has received grants from the Surdna Foundation and the Pollock Krasner Foundation, as well as residencies with the Edward F. Albee Foundation and Asilah Arts Festival in Morocco, where he was the selected to be the USA representative.
With her most recent series of drawings, Erin Murray, expands upon a certain fascination with architectural habits and how we collectively understand the environments we find ourselves in. By presenting a disrupted or distorted form of recognizable space and structure she exposes the inevitable human condition of the loss of knowledge associated with lived experience, and brings to light a sense of wonder and mystery this condition creates. Murray uses theses drawings, a practice founded on principles of intense observation, to fill the void of this loss of information by producing a representation of actuality along with that in which we construct.
Erin Murray received her BFA from the Maryland Institute College of Art. Her recent solo exhibitions have been at Vox Populi Gallery, Nancy Margolis Gallery in New York, and the Delaware Center for the Contemporary Arts in Wilmington, DE. In 2012, she was awarded the West Collects acquisition prize and the Fleisher Wind Challenge exhibition grant.
A visual, tactile representation of sound and the ever-fleeting nature of existence are brilliantly on display throughout Andrea Wolfensberger’s work. Her sculptures appear like air bubbles that have traveled up through water to form dazzling clusters of gentle foam collecting on the surface of the wall. Andrea’s bubbles not only reflect each present moment, but seem to come to life themselves as the glossy, interference colors of paint changes with every step across the gallery. Resembling landscapes, Wolfensberger’s cardboard sound fields are three-dimensional representations of electro-acoustic signals recorded in two-dimensional graphs. The project room features an installation of cardboard structures attached to steel rods that drip from the ceiling and echo the 1934 poem, Little Poem For Big Stammerer, written by Kurt Schwitters, spoken by Ernst Jandl.
Andrea Wolfensberger studied at Ecole Supérieure d‘Art Visuel, Geneva, Cité Internationel des Arts, Paris, and Istituto Svizzero di Roma, Italy. Her work has been exhibited at the Kunstmuseum Solothurn, Museum zu Allerheiligen, Schaffhausen, Edizioni Periferia, Lucerne, Galerie Gisèle Linder, Basel, and Galerie Bob Gysin, Zürich. She has been awarded Artprize of Basler Zeitung, Recognition award of the Vordemberge-Gildewart-Grant, Grant of the Canton of Zurich, Swiss Federal Grant, Kiefer-Hablitzel-Grant, Grant of the City of Zurich, and Grant of Stiftung BINZ 39.
Inspired by basic, do-it-yourself, hand-painted cabinets found in a house he was staying in, Robert Younger’s newest work straddles the line between painting and sculpture. By choosing to eliminate the interior space of these cabinets, he turned his focus to the vibrantly painted sliding panels. In his design, Younger keeps a representation of a hole, originally intended for a finger to slide the panels open, but removes its function. These objects are intended to take the viewer away from the thought of practical application, and bring them closer to an investigative, artistic comparison.
Robert Younger received a BFA from the Philadelphia College of Art. After spending the year 1969-70 in Italy on a Fulbright he returned to a year at the Yale Graduate School of Fine Arts. He received a New York State Council on the Arts Sponsored Projects Award, and grants from the National Endowment for the Arts. The Pollock-Krasner Foundation offered him a Vermont Studio Center Residency that was followed by Joan Mitchell Foundation Emergency Funding. His work has been exhibited in the New Jersey City Museum, Jersey City, NJ, Queens Museum, NYC, New Museum, NYC, as well as many galleries across the US.
For all inquiries, please contact Pentimenti Gallery at firstname.lastname@example.org or +1 215.625.9990.
GALLERY HOURS: Tuesday by appointment, Wednesday – Friday: 11 AM – 5 PM, Saturday: noon – 5 PM.