Review by Edith Newhall for the Philadelphia Inquirer, July 27, 2014
Including mention of my work:
Review by Edith Newhall for the Philadelphia Inquirer, July 27, 2014
Including mention of my work:
Including mention and image of “Interim”, by Lauren Findlay, July 18, 2014
Painting “Meantime” included in Bridgette Mayer Gallery’s booth at the Dallas Art Fair, April 12-14, 2013.
Click here to read the full review by Maegan Arthurs: artblog review
New Solo Exhibition, “Clickpath”, opening December 14, 2012 at Bridgette Mayer Gallery in Philadelphia.
Bridgette Mayer Gallery – Clickpath
Highlighting the work of 8 artists as examples of contemporary drawing practices:
“Beyond the Traditional: 8 Artists Who Push the Limits of Drawing: Arden Bendler Browning/Exuberant Chaos”, by Kenneth J. Procter, in Drawing Magazine
Reprinted with permission from Drawing, Summer 2012 (c) 2012, Interweave Press
“Upheaval”, a nearly 29′ long installation, is now on view in Terminal E of Philadelphia International Airport. The work will be displayed through late July 2012.
Philadelphia International Airport Art & Exhibitions
Shifting Speeds: Recent paintings by Arden Bendler Browning, Charles Burwell, and Rebecca Rutstein, curated by Andrea Packard
The Painting Center
547 West 27th Street, Suite 500
New York, NY 10001
February 28, 2012 – March 24, 2012
Thursday, March 1st, from 6:00 to 8:00 pm
The Painting Center is pleased to present Shifting Speeds, an exhibition of recent paintings by Arden Bendler Browning, Rebecca Rutstein, and Charles Burwell, highly regarded artists who prompt us to reflect upon the elasticity of time, space, and perception. In varying ways, these artists explore multi-layered approaches to painting, from the use of screen-printing, templates, and overlapping transparencies, to combinations of broad strokes, evolving patterns, or precise detail. Whether viewing Rutstein’s abstractions exploring the intersection of nature, desire, and geometric constructs; Bendler Browning’s synthesis of alternately sweeping and detailed urban environments; or Burwell’s abstractions developed from varied sources in biology and technology, one must reconcile contrasting modes of perception and representation. In varying ways, these masterfully crafted, complex, and energetic works ask us to shift speeds as we explore both the cacophony and unexpected harmonies of contemporary life. Slowing down and viewing these intricate works at length, we explore the changing interrelationships between inspiration and representation and between interior and exterior worlds.
by John Thornton. Watch here:
Read Edith Newhall’s review in The Philadelphia Inquirer here
Read Kira Grennan’s review on Inliquid art + design blog here
Edith Newhall’s review in The Philadelphia Inquirer: read here
Opening November 15, through December 31, 2011
November 15 – December 31, 2011
FOR IMMEDIATE RELEASE
October 6, 2011
Contact: Bridgette Mayer Gallery
t: 215-413-8893 f: 215-413-2283
Bridgette Mayer Gallery re-opens with ‘Karmic Abstraction’
November 15 – December 31, 2011
PHILADELPHIA – Closed for renovation for much of 2011, Bridgette Mayer Gallery on Washington Square in Center City, Philadelphia, reopens November 15, 2011. The inaugural show in the expanded and transformed space is a group exhibit of contemporary painting, “Karmic Abstraction”.
The show’s title reflects gallerist Bridgette Mayer’s “interest in the idea of the karmic cycle of an artist’s history of painting and ideas.” The selected works, by sixteen nationally- and internationally-recognized artists reveals, “how, at a given moment in time, standing in front of a work of art, the viewer is faced with the multiple layers and concepts that create a painting as well as a lifetime of ideas, actions and history that make up the career and art history of a contemporary artist.”
The term karma derives from a Sanskrit word for “act” and, in Indian philosophy, describes the ways in which good or bad actions reflect on future existence. This interest with painting’s history and how we come to know it is a matter of concern for artists as well as historians, conservators, and audiences. In addition to whatever they depict, paintings are also about the history of their own making, with decisions recorded in brush strokes, patches of raw canvas, under drawing, and pentimenti. It is increasingly common to see X-ray images and other forms of analysis in the exhibition of paintings as old-fashioned connoisseurship is supported by a phalanx of scientific approaches to understanding the history of a picture. (In September of this year, the Rijksmuseum in Amsterdam announced that they had used florescent X-ray technology to locate a portrait, thought to be of Napoleon Bonaparte’s brother, Joseph, under Goya’s 1823 portrait of Don Ramón Satué.)
The artists in the exhibit reflect notions of how the history of a painting might be apparent on its surface in a number of ways. Some works speak to personal or cultural memory, while others address the traditions of painting or the medium’s capacity to generate a record of its own creation.
Atlanta-based artist Radcliffe Bailey situates his work in dialog with the past by incorporating photographs into his compositions. Odili Donald Odita, a Philadelphia painter, uses color to “reflect the collection of visions from […] travels globally and locally”. Philadelphian Tim McFarlane writes that “relationships between time, memory, and movement form the primary foundation” for his paintings, which have an atmospheric quality as if seen through a filter of recollection. For each of these artists, paintings are a repository for personal and cultural experience and means of reflecting on questions of identity.
Neil Anderson, of Lewisburg, PA, makes paintings that seek to stop time, arresting it at a moment of ideal formal balance. This notion of using painting – the original slow-media – as means of controlling time and pausing at a critical moment, resonates with other artists in the exhibit. Philadelphian Nate Pankratz describes his painting process as an ‘editorial’ one in which shapes are shifted, repositioned, and rearranged, imparting a sense of time and careful revision in the final works. In stark contrast to such deliberation, Los Angeles-based Iva Gueorguieva’s pictures are built of forms that one writer described as, “barely revealed and poised to disintegrate”. Korean-born, London-based painter Eemyun Kang shares an interest in pictorial instability (as Rebecca Rose notes in her essay, Topography of Flux). Arden Bendler Browning (of Philadelphia) also makes paintings that appear on the edge of flying apart, owing to the way they reflect on the artist’s technology-inspired navigation of the urban landscape.
The idea of a painting’s history becoming apparent through familiarity, quotation, or use of borrowed images is also a theme that runs through the exhibit. Philadelphia painter Rebecca Rutstein, whose use of undersea mapping and other geological imagery has earned attention for her earlier works, turns her eye to space exploration in a new body of work. Spatial images – those of black holes in outer space as well as the spiritual spaces of 16th century Italian paintings (such as Antonio da Correggio’s Assumption of the Virgin) – have influenced New York painter Ryan McGinness, creating a swirling confluence of past and future. Others in the exhibit wear their historical connections in more general and allusive ways. New Yorker Leslie Wayne writes of her fascination with 19th century Romantic landscape painters and how their awe before nature is translated into materials-rich abstraction in her practice. It is the history of painting’s use of figuration that inspires Matthew Fischer (another New Yorker), whose aim is to make “abstract paintings that have the pictorial grip of representational paintings: the grip of figure/ground relationships, the grip of volume and atmosphere within imaginary space.” Graeme Todd, of Edinburgh, Scotland, also notes that his “way into art wasn’t through nature, it was through art” and discusses the way ideas suggested by German Renaissance etchings crop up in his taut, layered abstractions.
The value of layering as a means of communicating a painting’s history is also recognized by Philadelphia painter Charles Burwell, whose compositions layer linear, labyrinthine, and biomorphic imagery. Though his works are rich in cultural and historical associations, Burwell is primarily concerned with a painting’s construction, and as such, his works are records of their own imagining, difficult to pin down using language. Los Angeles artist Joe Goode’s long career of exploring various media and images approaches layering in a different way – calling up and revisiting images from his past through photography and self-quotation. “As an artist, you’re always creating your own history,” Goode said in a 2008 gallery lecture. Painter Thomas Nozkowski (New York) also creates work that evades language in its pictorial complexity and richness. Talking about his paintings with writer Francine Prose in an interview, Nozkowski remarked:
The central fact of our lives, of any artist’s life, are the thousands upon thousands of hours we spend alone staring at these damn things, thinking about them. We sit there, and these things just go on, and on, and on. Everything in the world ties into them, everything that’s crossed your mind while you’re working on it. And, if somebody could just get a sense of that fullness in a work of art, it’s working, you’re on the right track.
This notion – that “everything in the world ties into them, everything that’s crossed [an artist’s] mind” seems central to the exhibit as an opportunity to look at abstract painting as a means of exploring the history of objects and artists.
Gallery hours are Tuesday – Saturday 10:00 a.m. – 6:00 p.m. & by appointment.
Opens November 3, through December 11, 2011.
Works by Chie Fueki, Njideka Akunyili, Elizabeth O’Reilly, Arden Bendler Browning, and Ken Kewley
THE LIST GALLERY, SWARTHMORE COLLEGE
November 3-December 11, 2011
Panel discussion at 4:30 PM
Opening reception: 5:30-7 PM
Gallery hours: Tues.-–Sun, Noon–5 PM
Opens Thursday, October 6, and runs through December 30:
Darren White review in The Philadelphia Weekly :read here
Mary Murphy review on theartblog.org : read here
Edward Carey review in Title Magazine :read here
Anne R. Fabbri review, Broad Street Review, read here
Ed Sozanski review, The Philadelphia Inquirer, read here
Burt Wasserman review in Icon, see below:
Urbanism:Reimagining the Lived Environment
July 2 – September 4, 2011
Fisher Brooks Gallery, Samuel M.V. Hamilton Building, Pennsylvania Academy of Fine Arts, Philadelphia
Philadelphia has long been a cultural center and, indeed, when PAFA was founded, Philadelphia was the most vibrant city in the Republic. A cradle for American art for over two centuries, it is now a city where hundreds of artists live and where hundreds more are being trained in its art schools and universities. Philadelphia is also a center that, over the past decade, has attracted artists away from other major cities, providing not only a richly supportive artistic community but also affordable working spaces and good transport and communications. The city provides a dynamic and vital environment that can be perceived in much of the work that is currently emerging from artists’ studios. In this context, Urbanism provides an opportunity to look at four emerging artists from Philadelphia who, in various ways, re-focus the idea of the urban through a lens that explores the dreams, experience, and potential of the lived environment.
Reflecting the overlays of planning that direct our movement within our urban surroundings, Arden Bendler Browning’s imaginations of the city are sprawling paintings where dynamically fractured space suggests the noise and speed of a vivid urban existence. Drawing on impressions of places, photographs, and memories, as well as exploring street views on Google maps, the artist renders the city as an abstraction where recognizable forms struggle to come to the surface only to be subsumed in a melee of interlocking perspectives. Painted on Tyvek and hung freely without frames, these works have a scale and immediacy that both envelops and energizes the viewer. Born in Philadelphia, Arden Bendler Browning studied at Carnegie Mellon University in Pittsburgh and Sydney College of the Arts in Australia, and was awarded an MFA in 2003 from Tyler School of Art in Philadelphia.
Employing a variety of media, Steven and Billy Blaise Dufala, known as the Dufala Brothers, create three-dimensional works that touch upon the absurd, while giving new meaning to discarded and homeless objects. Refashioning the everyday in ways that are unexpected and humorous, a dumpster can become a coffin and a toilet bowl can be transformed into the seat of a tricycle. In this repurposing of common objects, the Dufala Brothers question not only the nature and logic of consumer culture, but they also challenge us to think again about what art is and what it can be. Born in Philadelphia, Steven Dufala and Billy Blaise Dufala both studied at PAFA. They are both on the teaching staff of PAFA.
Ben Peterson’s large-scale drawings picture environments where elaborate and highly detailed architecture and landscape maintain a temporary quality, leaning toward instability. Yet, while they resemble architectural Utopias, on close inspection the seeming orderliness of Peterson’s idyllic images of roads, homes, and gardens becomes playfully disrupted as the visual edges of his imaginary world lift and buckle, crumble and fall apart. As if the slightest gust of wind might blow them away, the weightlessness of these beautifully rendered environments is unsettling, suggesting an assembly line world that runs the risk of fast becoming obsolete. Born in Hawthorne, Nevada, Ben Peterson received a BFA from California College of the Arts in 2004. He moved to Philadelphia in 2006.
Amy Walsh’s sculptures allow us to look inside her ramshackle architectural constructions, made of cardboard and wood, toward their humble and labyrinthine interiors. Using discarded and found materials these exquisitely detailed objects evoke the familiar environment of gutted homes and abandoned warehouses. Walsh’s translation of scale imbues her sculptures with an intimacy and vulnerability while restricting access beyond what can be seen through the windows and peepholes that puncture the exteriors. Walsh was born in Boston and, after studying at the Amsterdamse Hogeschool vor de Kunsten in Holland and the University of Massachussetts in Amherst, she graduated with an MFA from PAFA in 2006. She is currently on the teaching staff of both PAFA and Temple University.
Curator: Julien Robson, Curator of Contemporary Art
Press for “Splinters” at Delaware Center for the Contemporary Arts, by Victoria Donohoe in Philadelphia Inquirer, March 25, 2011: read here
Arden Bendler Browning’s large abstract gouache paintings
on Tyvek reflect a changing awareness of vision and the
experience of movement in the urban landscape. Her paintings
illustrate an increasing ability to see and navigate the world
with the click of a mouse. Browning states, “Part of the allure of
using Google Maps is the ability to not only find an image of just
about any address or location, but to be able to turn around,
jump ahead, look up, zoom in, and zoom back out to map view.”
Browning visualizes several different perspectives at once in
her work, using ambiguous shapes, overlapping forms, and
blotches of color to create a visual barrier between distant vistas.
In Browning’s splintered cityscapes, the ground appears to shift
and break apart while fence, highway, and bridge-like forms
seem shattered, detached, and floating in space. For her exhibition
at the DCCA, Browning will install several of her mural-sized
works, which she states are informed in part by ideas in architecture
and urban planning. Browning also considers the impact of
industrial decay, gentrification, travel, tourism, and suburban
sprawl on cities and the natural environment. The artist is highly
attuned to her experience of the ordinary and often neglected
spaces many of us consider the necessary urban ruins we must
pass en route to our final destination. In contrast, Browning
salvages these sites as provocative subjects for her paintings.
– Maiza Hixson
Gretchen Hupfel Curator of Contemporary Art
My current solo exhibition, Splinters, is currently on view at the Delaware Center for the Contemporary Arts, in Wilmington, Delaware. An opening reception will occur on Friday, March 4, from 5-9 PM. I will be giving an informal gallery talk at 6:30.
2011 New CDP Fellows
First Exhibition of the new Career Development Program Fellows!
Opening Reception: Wednesday, February 2, 6-8pm
Dates: February 2 – February 19, 2011
Moore College of Art & Design
1916 Race Street
Philadelphia, PA 19103
Named by West Collection curator Paige West on West Prize short-list :West Prize 2011 Short-list
Libby Rosof’s review of exhibition on artblog :read here
Erica Minutella on curator conversation led by Sue Spaid : read here
Thursday, November 4, 2010 – 5:30-8:30
Curator Conversation followed by reception, Wind Challenge Exhibition, Fleisher Art Memorial
Sue Spaid, independent curator, will be moderating the discussion. Open to public!www.fleisher.org
Fleisher Art Memorial, 719 Catharine Street, Philadelphia PA www.fleisher.org
My work Between the Lots has been chosen for inclusion in Manifest Gallery’s International Painting Annual, to be published in Spring 2011.
One of my works will be included in Inliquid’s Benefit Auction to be held on Thursday, September 30, 2010 at Crane Arts Building, 1400 N. American St., Philadelphia, PA
Press from Seepages at Whitespace, Atlanta (June-July 2010):
I was privileged to have been one of 12 Philadelphia artists selected to exhibit work in the inaugural exhibition On the Rise at the new Art Gallery at City Hall.