Heaven Gallery and DOCUMENT are pleased to present, Layered and Exposed, a group exhibition with artist’s Elizabeth Atterbury, Scott Cowan, Owen Kydd, Phillip Maisel and Erin Jane Nelson.
Layered and Exposed is a group exhibition exploring collage in contemporary video and photographic practices. The artists in the exhibition vary from studio-based constructions, digitally made collages and visual assemblages made using the camera.
A collage is a work of art composed of numerous materials, such as paper, newsprint, photographs, ribbons or other objects attached to background support, such as plain paper. A collage can even be made with physical materials or electronic images, attaching them to a digital background. Originating from the French word "coller", meaning "to glue", the collage allows you to experiment with a wide range of materials to achieve amazing end results. This article provides a sample of the many possibilities limited only by your creativity and imagination.
1- Choose a style of collage. By definition, a collage should be made up of several different pieces. Those pieces can be made of all sorts of items, such as paper, yarn, fabric, stamps, magazine cut-outs, plastic, raffia, foil, labels, lids, matchsticks, corks, natural items (bark, leaves, seeds, eggshells, seashells, twigs, etc.), buttons, and so forth. You can either choose one medium such as paper or fabric, or you can make an eclectic mix, such as paper, buttons and foil
2- Choose a suitable backing. While a paper or cardboard backing is the usual choice, the backing can be anything you consider will work well. For example, a backing could be blotting paper, card stock, fabric such as a piece of hessian (burlap), newspaper, old book covers, wood, smooth bark, plastic, etc. If the surface is usable and items can be stuck to it, you can probably use it for making a collage.
3- Hoard the materials for future collages. As you become more proficient at and enthused about making collages, you'll probably start seeing opportunities in all sorts of materials. Be sure to keep a special collage materials box for collecting the pieces in.
Elizabeth Atterbury received her MFA from MassArt in 2011. She has shown her work recently at Bodega (Philadelphia), Tyler School of Art (Philadelphia), The Center for Maine Contemporary Art, and the Chelsea Art Museum (New York, in conjunction with The Collectors Guide, Vol. 2, Humble Arts Foundation). She lives and works in Portland, Maine and is currently a Visiting Lecturer in Art at Bowdoin College.
Scott Cowan lives in LA and is pursuing a masters degree in theology and philosophy. Scott was born in 1986 in Kansas City (he grew up on the Kansas side). His interests include political theology, cultural criticism, philosophy of mind, and investigating the social structures of language. Previously Cowan completed a BA in photography.
Owen Kydd lives and works in Los Angeles. He holds a Bachelor’s degree from Simon Fraser University in Vancouver and a Masters degree from UCLA. His works have been exhibited in soloexhibitions at the Vancouver Art Gallery and Nicelle Beauchene Galleryin New York, and in group exhibitions at the Contemporary Art Galleryin Vancouver, the Surrey Art Gallery, and the Daegu Biennial in SouthKorea.
Phillip Maisel was born and raised in Chicago. He graduated from McGill University in Montreal with a B.S. in Psychology and from California College of the Arts in San Francisco with an MFA in Visual Arts. He is the only two-time recipient of the Yefim Cherkis Scholarship for Photographic Excellence. His work has been shown in galleries both nationally and internationally and is included in multiple collections. Phillip resides in San Francisco, and he teaches photography at California College of the Arts and The Nueva School.
Erin Jane Nelson is an artist and writer based in Oakland, California. She studied at The Cooper Union School of Art, Malmö Art Academy (Sweden), and Oxbow School (Michigan). Recent Projects include Kantan An Libe Tavleau at Forever & Always (Chicago), Love's Labor's 1 at Important Projects (Oakland), Broon published by Gottlund Verlag (Los Angeles), and www.stilllifelive.com.
Center of the Circle: Sarah Belknap & Joseph Belknap +
Everything You Need Is Already Here: Stacia Yeapanis
Opening Reception: January 17, from 7-11pm
Exhibition Dates: January 17- February 16, 2014
An exhibition of work by Sarah Belknap and Joseph Belknap explores a shared experience with the cosmos, as described by the artists themselves:
“All of us grow up with the sense that there is some personal relationship between us, ourselves, and the universe.”
The first meteorite we physically encountered was at the Hayden Planetarium. It was the Willamette meteorite- steeped in history, controversy and legend. We hugged it and it felt like magic and our hearts were won over and we started making work that looked at the cosmos. In this new body of video, photography and sculpture we try to recreate that magic- we are looking at the moon, meteorites, comets, the myths and romance they produce, and our love of the wild
A solo exhibition by Stacia Yeapanis exploring repetition, desire and impermanence.
Everything You Need Is Already Here (2014) explores the spiritual predicament of desire, the presence of impermanence in everyday life and the possibility of responding to it with wonder and play, as opposed to anxiety. This solo exhibition brings together works from Specimens (2013), a series of pinned, shadowbox collages made of advertising images collected from glossy magazines, with an improvisational sculptural installation assembled on the floor of Heaven Gallery.
Stacia Yeapanis highlights the nature of impermanence in an installation that only lasts the length of the exhibition. One Day to Install (Heaven Gallery, Chicago) (2014) is inspired by the sites and relics of the human pursuit of a spiritual life—shrines and altars, mandalas, rock gardens and cairns, stupas, rosary beads, icons. The thousands of individual components, which will be reconfigured in future installations, are byproducts of the artist’s private meditation practice. The repeated gesture of coiling, winding, rolling easily-accessible materials, which results in an accumulation of empty centers, becomes an embodied metaphor for presence. Yeapanis selects both manufactured goods and collected detritus of her life as an artist, a consumer, a cultural participant and a waitress, because these materials represent an acceptance and engagement with what is, rather than a striving towards what should/could be.
Wild Dream: Re-imagining the Ballet Russes
Renovar Spring 2014
"We are witnesses of the greatest moment of summing up in history, in the name of a new and unknown culture, which will be created by us, and which will also sweep us away"
The Ballet Russes was the impresario Serge Diaghilev's wildest dream. He created an art enterprise that manufactured excitement and celebrated modernism. His theatrical spectacles combined traditional narrative with emerging art, enabling him to promote his taste and making him reputable to his collaborators. He was neither a composer or artist, yet he managed to assert an unprecedented influence on art in the early 20th century.
Serge Diaghilev started his career as an art exhibitor, curating a show of 4000 works in St. Petersburg. He later was part of a collective that created the art journal Mir Iskusstva (World of Art) and held art lectures and discussions. Later he applied his curatorial eye to the ballet, in association with the migration of artists and nobility that fled Russia from the Bolshevik revolution, Diaghilev exported Russian culture and artists to Paris. In 1909 his Ballet Russes was a instant sensation, beginning his legendary collaborations with artists, composers, choreographers and fashion designers. Among his collaborators were Pablo Picasso, Georges Braque, Henri Matisse, Joan Miro, Leon Bakst, Sonia Delaunay, Jean Cocteau, Coco Chanel, Vaslav Nijinsky and Russian composer Igor Stravinsky. The Ballet Russes unification of all mediums made it much more than the ballet, with Picasso's cubism applied to set design and Chanel's simplicity to costume, it gained international fame. With glory also came controversy. Stravinsky's "The Rite of Spring", inspired by Pagan rituals to spring, met with outrage for it's primitive dance and jolting score that ignited the infamous riot in 1912.
Over a hundred years later the cultural phenomenon of the Ballet Russes continues to intrigue with exhibitions popping up all over the world. Recent exhibitions included, When Art danced with Music at the National Museum in Washington D.C 2013, Elegance in Exile:Between Fashion and Costume, the Diaghilev Era at the Palazzo Moceniza Museum in Venice 2011, Diaghilev and the Golden Age of the Ballet Russes 1909-1929 at the Victoria and Albert Museum in London 2010, and Ballet Russes Art of Costume at The National Gallery in Australia 2010, all showcasing the elaborate costumes and visuals from the rich history of The Ballet Russes.
Wild Dream, Renovar's Spring 2014 collection gives in to the daydream of becoming a modern ballerina, inspired by the explosive and kinetic costumes of The Ballet Russes. While maintaining a contemporary context, Renovar pairs sumptuous blasts of color with whimsical styles to recreate spectacle. The costumes are both thrilling and shocking with bold geometry and dripping pearl
work by Jessica Bardsley, Gwynne Johnson, and Ashley Thomas
Oct 18th- 27th
“… a shadow is a simultaneous memory…”
“From the outset, perception belongs to recollection.”
Night Without Sleep presents a world drawn in shadows, revealing the contours of our guiding drives, passionate attachments, and forgotten remains. Gwynne Johnson’s photographs and objects reveal the unconscious of domestic life through the rhythms of celestial and corporal bodies. Ashley Thomas’s noir-palette drawings and collages depict the objects of her fixation larger than life or swimming in darkness, while Jessica Bardsley’s constellation of archival film and photographs activates historical residue to trace the ocean’s haunted past. The artists of Night Without Sleep remake common objects and archival materials according to their memories, perceptions, and desires, illuminating the periphery of the visible, or quietly revealing what goes unseen by day.
Heaven Presents "Being a Woman in an all Women Show"
18 women art exhibition
Marissa lee Benedict
Jessica Taylor Caponigro
I have been accused of secretly wanting to be a man. This comment was made recently during a studio visit with a fellow artist, who saw how uncomfortable and wary I became as she steered our discussion towards gender politics.
I do not harbor the desire to undergo a sex change, but I also do not want to be seen solely as a female artist. It is from this position of defensive resistance in which I find myself "being a woman in an all women show."
There are many ways to experience discrimination in the art world; gender inequality is just one of them. To be defined by one's gender as a female artist is to be limited. A colleague recently brought to my attention the fact that the most reputable galleries here in Chicago all represent far more male artists than female. This inequality is made even worse when one realizes that our city's art schools are enrolling more women than men. An admissions counselor at the School of the Art Institute of Chicago informed me that women compose roughly 70% of its student body. A woman can be trained (and pay for that training) as an artist, but it is not the same as her becoming one. "Being a woman in an all women show" is an effort to make up for this blatant discrepancy.
Not all artists consciously implicate their gender while making their work, and yet gender remains a determinant factor in how artworks are curated and disseminated. It seems unfortunate that an all-female exhibition is unusual enough to serve as a curatorial platform.
With this exhibition, Heaven gallery is pleased to exhibit the work of eighteen artists, who all happen to be women. These are good artists, not good-for-being-female artists. With this exhibition, let us hope that the exceptional work of each artist is seen as expected, and not a surprise.
ACRE has partnered with Heaven Gallery to host MEND THINE EVERY FLAW: works by SHAWN CREEDEN, MARSHALL ELLIOTT, & RACHAEL STARBUCK, the next installment in ACRE's year-long series of exhibitions by 2013 ACRE summer residents.
Mend Thine Every Flaw
An individual’s experience of the world is filtered through human scale and limited by human perception. In her work, Rachael Starbuck looks to the landscape as a site for understanding oneself and one's place. Our relationship to the natural environment can feel intimate because that relationship is based on our sensory experience, the touch, sounds, sights. However, the magnitude of the natural environment, the size of a mountain, or the vastness of an ocean contradict that perceived intimacy. Starbuck employs manageable, tactile moments in order to understand the world at large. Her work is often subtle and relies on humble, familiar materials. In her installation Starbuck presents two videos projected opposite one another in the gallery. In the first, Starbuck handles a sun made of plaster and paper pulp, rubbing it repeatedly and holding it in place of the actual sun. In the second, she handles a rock made of calcium carbonate, acrylic paint and glue, this time against her floral print skirt over grass. The positioning of these projections, the former high to the ceiling, connoting the sky and latter closer to the floor, connoting the earth, further connects each surrogate to its real life counterpart. Starbuck’s hands on these surrogates are an effort to physically hold or contain these monumental elements of nature in an attempt to close the distance between herself and the place they belong. Ultimately this gesture toward creating an intimacy in order to comprehend what is too large or too distant to comprehend is futile, however, Starbuck’s often repetitive, meditative process, and her presentation, in which subtle details are revealed with time, encourage contemplation from the viewer. A contemplative relationship with the environment, rather than a sensory one, may be a more intimate relationship after all.
While Starbuck revels in poignant experiences of our relationship to the landscape, Shawn Creeden’s work is occupied with the tools and techniques that humans employ in effort to control their surroundings and their experience of the world. In Creeden’s work there is an underlying question about how far humanity has gone to shape its surroundings and to what ends we understand the effects of that manipulation. Like Starbuck, Creeden also plays with scale, bringing the overwhelming travesties of pollution and the manipulation of the natural world to an uncomfortably intimate size. Utilizing traditional craft techniques and tropes of domestic spaces, Creeden’s approach opens up for a complex read on humanity’s struggle to define itself against the backdrop of its landscape throughout the ages. In his aquarium installation, Creeden creates objects that appear to be a formal exercise in minimalism or a dazzling color study. Their material components, however, include living algaes, some of which flourish dangerously in the runoff of industrial agriculture, while others are threatened by pollution and human activity or are exploited to our benefit. Similarly, Creeden’s embroideries present as gentle abstractions but take their lines and shapes from the original borders imposed on to the landscape of the American West. These borders, which seem innocuous in Creeden’s delicate abstractions, were a key part of the doctrine of Manifest Destiny and the conquest of the indigenous people, wildlife and land itself. Using the techniques of formalism and abstraction, which historically incorporate ideas of masking the author or master, Creeden highlights the keen manipulation of material by a human and uncovers the hidden histories and unseen destructions that come as the price for mastering the landscape.
Marshall Elliott’s use of the classical symbols of Heartland America hints at the ideology of self-identification through a relationship to place. Patriotism is a cultural attachment to one's homeland or devotion to one's country. Human’s have long expressed their devotion to their place through objects and symbols. National flags are probably the most universal symbol of this relationship and the American flag is a recurring motif in Elliott’s work. The traditions associated with the flag and the particularities of its use and handling are indicative of the way these symbols of patriotism are embedded in a sense of national and personal identity. In Retired Flag, Elliott dissects a retired American flag, taking each element and separating it from the whole. It is a gentle, reflective deconstruction, viewed as more of an investigation by the artist than an act of destruction. His process could be seen as very similar to the actual process of decommissioning an American flag in which the flag is disassembled and then incinerated, yet it differs in that he presents the disassembled flag for contemplation, standing in as a placeholder for a much larger concept of the country it stands for. Another recurring motif in Elliott’s work is the windmill. The American windmill played a major role in the ability for Western Expansion in the settling of the United States. Elliott plays with its history and significance by subverting its function in the video animation The American Windmill. Through his manipulation of symbols and objects that are considered truly American, Elliott’s work explores the strong human desire to take ownership of their place and the manufacture of that desire.
MARSHALL ELLIOTT (born Eglin, Florida, 1976), lives in Oakland, CA and recently completed his MFA at the San Francisco Art Institute, where he won the Anne Bremer Memorial Prize. In addition to Bay-area galleries, he has shown work in Colorado, Oregon, and Nebraska with upcoming shows in San Francisco, Chicago, and New York.
RACHAEL STARBUCK is an interdisciplinary artist from Miami, Fl working primarily with sculpture and video. Rachael received her BFA in Sculpture + Extended Media from Virginia Commonwealth University in 2011 and is currently living and working in Austin, TX. She has attended residencies at the Contemporary Artists Center at Woodside, ACRE and The Wassaic Project and has shown work in Richmond, VA, Chicago, Miami and Austin. She is currently enrolled in the MFA program at the University of Texas at Austin.
More information about Rachael Starbuck can be found at rachaelstarbuck.com.
SHAWN CREEDEN (born Newport, RI 1981) received his BFA from the Rochester Institute of Technology in 2003. His work has been exhibited both nationally and internationally, including at The Headlands Center for the Arts (Sausalito, CA), Artists Space (NY, NY), Fontanelle Gallery (Portland, OR), The Filippo Gallery (Randolph-Macon College, Ashland, VA), Lamp Gallery (Tokyo), Grotto Gallerie (Brooklyn, NY), and The Manuel Izquierdo Gallery (Pacific Northwest College of Art, Portland, OR). His books and multiples are held in the collections of the Beinecke Rare Book and Manuscript Library at Yale University, The Museum Library at MOMA, and the Cary Graphic Arts Collection at RIT. He has participated in artist residencies including Signal Fire (Portland/Gila Wilderness, NM), ACRE (Chicago/Steuben, WI), and Epicenter (Green River, UT). Creeden currently lives and works in Portland, OR.
HEAVEN GALLERY established in 1997 is a non-profit arts space in Wicker Park that presents emerging artists and musicians. The gallery host 8-10 art shows and over 40 music shows a year. Heaven strives to make exhibitions and music shows accessible to the artist community by widely promoting its open proposal process. The visual art exhibitions are devoted to contemporary art, primarily sculpture painting and photography with a preference for simple smart art.
More information about Heaven gallery can be found at heavengallery.com.
ACRE (Artists’ Cooperative Residency and Exhibition) was founded in 2010 with the ambition to provide the arts community with an affordable, cooperative, and dialogue-oriented residency program. The residency itself takes place each summer in rural southwest Wisconsin and brings together artists from across disciplines and levels of experience to create a regenerative community of cultural producers. Over the course of the following year ACRE endeavors to further support its residents by providing venues for exhibitions, idea exchange, interdisciplinary collaboration, and experimental projects.
FOR HEAVEN'S SAKE
14 YEAR ANNIVERSARY BENEFIT & ART AUCTION
June 27th, 2014
Heaven Gallery, the non-profit art space, is celebrating it's 14th year anniversary with the Annual Benefit & Art Auction. The gallery, established in 2000, has greatly contributed to the culture of Wicker Park, presenting emerging local artists in Chicago. Heaven hosts eight shows a year, most combining sculpture, painting, and photography as well as other non traditional media. Heaven strives to make exhibitions accessible to artists in the community by widely promoting its open proposal process. All of the art events are free to the public, this made possible by the help and generous support of our art community.
Music By Disco DJ Ayana Contreras
auction works by:
Marissa Lee Benedict
Jessica Taylor Caponigro
Sarah & Joseph Belknap
Robert Chase Heishman
A special thanks to all artist who donated
All funds raised will go towards supporting the art exhibitions and daily operation costs at Heaven Gallery.