Gallery Schedule // 2013

December 22, 2012—February 2, 2013
Home for the Holidays
The de la Torre Brothers

January 24—27, 2013
The Metro Show NYC

January 12—February 23, 2013
Subversive Narratives: Exposing the Raw Side

February 14—18, 2013
Art Wynwood

March 7—10, 2013

February 9—March 30, 2013
Post Coital
Rebekah Bogard, Georgine IngoldMuir VidlerScot SothernChristina West, and Becky Flanders and Marta Soul courtesy of Kopeikin Gallery

April 10—14, 2013
Zona Maco Contemporary Art Fair

April 6—May 11, 2013
Solo Exhibition: Sylvia Hommert

May 25—June 29, 2013
Material Inspiration:
Gareth Mason 

June 10—16, 2013
Scope Basel 2013

June 30—July 13, 2013
Gallery Closed for Holiday

July 20—September 14, 2013
The Paintings of Erin Parish 

September 24—October 2, 2013
Collectors’ Trip to Korea with Mindy Solomon

October 10—13, 2013
Texas Contemporary Art Fair

October 31—November 3, 2013
SOFA Chicago

October 16—November 16, 2013
Renaissance Men:
A Solo Exhibition by Generic Art Solutions

December 3—8, 2013
Art Miami

November 21—December 16, 2013
Southern Fried:
John ByrdJeremy ChandlerJeremiah Jenkins

December 19, 2013—January 25, 2014
Kang Hyo LeeMinkyu Lee, Sung-Jae ChoiRee Soo-Jong,
HunChung LeeWookjae MaengSungyee Kim

Bart Johnson Interview

Bart Johnson is featured in the upcoming Explicit Content later this April and to prepare art ambassador, Mark Murphy, caught up with him and reveals more about his new etchings. Read complete interview here.

Explicit Content Opens—April 14—May 19

Mindy Solomon Gallery opens Explicit Content April 14 as a pre-cursor to tax day and a good reason to explore sexual expression. Explicit Content reveals “behind closed doors” perspectives on nudity and sexual activity as expressed by leading contemporaries not afraid to disclose social taboos in an “erotic” nature.

Explicit Content-Exploring the non-romantic nature of sex

The purpose of this show is to create a visual and sensory pictorial of the most intimate, yet unemotional aspects of human sexuality. Through the black and white photo journalistically inspired works of Los Angeles prostitutes by Scot Sothern, the sculptural couplings of Christina West, graphic video diaries by Barbara DeGenevieve, fantastical erotic drawings of Bart Johnson, and in your face photos by Becky Flanders, the show will plumb the depths of the most innate physical yearnings.

Artist Scot Sothern states: “LOWLIFE is an illustrated diary of dysfunction; the confessions of a befuddled baby-boomer maintaining a precarious connection to propriety and 
fatherhood while side-tripping into nourish infatuations. These stories and images, shot mostly in Southern California between 1986 and 1990 record the existence of the many disenfranchised Americans, men and women, hawking body 
and soul for the price of a Big Mac and a fix, struggling in a culture that deems them criminal and expendable.” Sothern’s images put a human face to the sex industry-one that defies judgment in the face of desperation, drug addiction, and instant sexual gratification. (Interview here).

Christina West’s figurations are depicted to be anatomically correct at a slightly smaller than normal scale. Their ghost like anonymity implies a level of dispassionate provocation. The highly charged erotic interplay forces the viewer to confront images of sexual arousal not often on display in the public forum.

Bart Johnson’s storied life is punctuated by a voyeuristic journey’s into the darkest realms of the human society. His visits to strip clubs and an interest in the marginalized members of society provide visual fodder for his endless array of eye-popping images. Johnson’s lurid, stream of conscious drawings push the viewer into a visual world of bizarre couplings. The graphic depictions are both repellent and disturbing-the idea of public sexual interactions as normative in a purgatory like environment references Hieronymus Bosch and the medieval notion of Hell. (Interview here).

Barbara DeGenevieve is the grand dame of erotica. Her ground-breaking, voyeuristic works reflect an independence and fearlessness in a world desperate to categorize and qualify. DeGenevieve reflects in her artist statement: “I have used sex as subject matter for more than 25 years in combinations of photographic images, videos, theoretical writings, and sexually explicit monologues. I often call my current work pornographic — when I don’t, I can always be sure someone else will. When I do, it becomes an unstable signifier. What does it mean for a middle-aged woman, a professor, a teacher of theory, a feminist – to write like this, to speak like this, to think these thoughts, to exhibit such bad behavior? I like playing with the vulgar, with the low-class, low-brow, language of traditional porn. I’m suspicious of distinctions that elevate erotica over porn as well as create incommensurability between art and pornography. I’m fascinated by what happens when private language and action enter the public domain, when vernacular “pornographic” vocabulary intersects with cultural analysis, when everything we believe about political correctness is subverted by intemperance, indulgence, desire out of control, and logical reasoning.

My work is not a critique, but rather an embracing of what has been vilified. It is also an acknowledgment of the ways in which pornography [locates/implicates] [me/us] in a realm of what Judith Butler has described as “psychic excess,” that which is systematically denied by the notion of the volitional subject. “The refusal to conflate the subject with the psyche marks the psychic as that which exceeds the domain of the conscious subject.” It is that realm of the unconscious she describes that that becomes so problematic, the consciously inaccessible that creates such turmoil because it compromises volition — what we think we are or what we’re told we should be. In a vain attempt to keep this excess under control, priests deny their obsession with little boys, evangelists with prostitutes, business executives with infantile humiliation fetishes, and feminists with rape fantasies. These are not accusations but rather recognition of the fact that fetishes, whether horrific or benign, become part of this psychic excess.”

Another young feminist striving to express an independent sexual spirit is Becky Flanders. Flanders often uses herself as subject, masking her face, so as to force the viewer to confront genitalia, and in some cases urination. Her uninhibited use of her own body as subject is a bold statement about freedom in sexual expression, and the ability to share it with an anonymous audience. Her spot on camera techniques provide a window into fetish like sexual practices and the viewer’s ability to digest them.

Explicit Content is show that explores raw human sexuality without apology. The works are provocative and dispassionate-a metaphor for the animal longings that are constantly at play within our society. Explicit Content opens Saturday, April 14, 6—8PM and will be on exhibition through May 19, 2012. Please note: we will be presenting material not suitable for young children and a XXX rating does apply. (Above, Bart Johnson).

SCOPE Pavillion Booth No. C21 11/29—12/4

The Mindy Solomon Gallery is an international showcase for contemporary art with an eye for the unique with an emphasis on pottery, ceramics, photography and abstract painting. This week we head to Miami to participate in the SCOPE Pavillion, part of the week long Art Basel fair November 29 through December 4, 2011.

We will be presenting modern contemporary, sculptural forms and outsider art works by the imaginative artistry of Gregory Green, Bart Johnson, James Kennedy, Kate MacDowell, Wookjae Maeng, Sean Noyce, Einar & Jamex de la Torre, Sunkoo Yuh and Wanxin Zhang. Please visit us at Booth No. C21 as we occupy an impressive booth presenting 50 high-quality art pieces. For more information, please read more here.

SCOPE Art Show 11/29—12/04 C21

Mindy Solomon Gallery will be participating in this year’s SCOPE Art Show in Miami, FL November 29—December 4 located at Booth C21. This year we will be featuring a thought-provoking line up featuring Bart JohnsonJames KennedyEinar and Jamex de la TorreSean NoyceSunkoo YuhGregory Green, Kate MacDowell and Wookjae Maeng.

The following are pieces featured in this year’s SCOPE Booth C21. Please contact the gallery for a complete preview list and to learn more.

Kate MacDowell, Serpentine, 6x5x6 inches,  hand built porcelain, cone 6 glaze

Bart Johnson, Sonny Boy, 11×14″ oil on paper mounted on panel

James Kennedy Dilution Diagram, Framed White, Mixed Media on Incised Masonite,
64″ x 64″

Einar and Jamex de la Torre El Cakeito, 2010 Archival pigment print, epoxy, found objects, resin, mixed media 59″ x 162″ x 3.5″

Sean Noyce,  Mac & Frieze, Oil on wood, 48″ x 48, 2011

Sunkoo Yuh I want to know you better/WOR, Porcelain, Glazed, Cone 10, 2011,
27″ x 24″ x 17″

Gregory Green Biblebomb #1907 (Russia Style, Tampa) 2008, Mixed Media
32″ x 23″ x 13″

Wookjae Mang (Above, (L) Rhino Gaze, (R) Wild Cow Gaze, porcelain slip casting, 5.9”x5.9”x8.3”

This year’s Miami edition of the fair, November 29-December 4, 2011, will present the Mindy Solomon Gallery and 79 additional galleries upholding SCOPE’s unique tradition of solo and thematic group shows presented alongside museum-quality programming, collector tours, screenings, and special events.

In over thirty five fairs spanning the past ten years, SCOPE has solidified its position as the premier show-case for international emerging contemporary art. With art fairs in Miami, Basel, New York, London and the Hamptons, SCOPE Art Show has garnered critical acclaim attracting over 350,000 visitors.