Phone 214.708.8051 Member of
The gallery will be closed Friday and Saturday after Christmas. See you in the New Year!
January 10, 2015, 12:00 - 7:00 pm, Closing of Kai Peter Martin, Oblivion Moves.
John M. Bennett, Sophia Le Fraga, Lanny Quarles, Spencer Selby, Alan Sondheim, Margaret Withers and Erik H Zepka
Exhibition Dates, October 24 – November 26, 2014
Cohn Drennan Contemporary has invited a group of artists to participate in an examination of the designation, self-published, with Lanny Quarles as the curator of the exhibition. In self-published, I haven't attempted to skirt the semantic nature of the subject, but embrace it. Some of these examples fulfill both categories easily, and by that I mean, the artist is both publishing some version of a self, or selfhood, but also taking the reins of production into their own hands, whatever that means exactly, or inexactly. - Quarles.
John M. Bennett is a major figure in the American small press scene. He has published, exhibited and performed his word art worldwide in thousands of publications and venues. He was editor and publisher of LOST AND FOUND TIMES (1975-2005), and is Curator of the Avant Writing Collection at the Ohio State University Libraries. Richard Kostelanetz has called him “the seminal American poet of my generation”. His work, publications, and papers are collected in several major institutions, including Washington University (St. Louis), SUNY Buffalo, The Ohio State University, The Museum of Modern Art, and other major libraries. His PhD (UCLA 1970) is in Latin American Literature.
Sophia Le Fraga is a New York artist and writer and has published and shown widely, most recently with SALTS at Art Basel, Geneva. Her recent work W8ING 4 has been called a conceptual video-poem, a contemporary revision of Samuel Beckett’s Waiting for Godot. She also teaches at the experimental art school BHQFU in New York where she lives. In Self-Published, Sophia will show several of her poems made from film-still subtitles.
Lanny Quarles is an artist, writer, and curator in Dallas. Long known for his blogs Phaneronoemikon, and Jellybean Weirdo with Electric Snake Fang, he studied with Jim Pomeroy in the New Genres program at UTA which combined performance and computer art. In 2006 Quarles was curated into the Tate Modern exhibition, Poetry and Dream, and currently creates poetry from found film stills to which he adds para-textual captions.
Spencer Selby is based out of Ames, Iowa and has been an active member of the underground writing community since the eighties. In 1993 he created The List of Experimental Poetry/Art Magazines. Available on the web at www.selbylist.com, the list has become an important source of info for innovative writers and artists around the world. He also has written one of the definitive volumes on international film noir, which also happens to partially inform the work visible in this show which combines yesteryear portraiture with contemporary glitch culture.
Alan Sondheim is a well-known theorist of the virtual self, and has been publishing his own in virtually every kind of social media since the inception of the internet (and well before!). He is a writer, philosopher, teacher, artist, and an activist, as well as a film maker and musician, and not necessarily in any kind of order. He spent some time in Dallas as a faculty member at UTD and now Alan lives and creates with his life partner Azure Carter in Providence RI. Most recently he has been working through a set of issues related to issues of terrorism and ISIS.
Margaret Withers is a Brooklyn based artist contributing herTransliteration project which utilizes Google Translate, Google Earth, and Google NGRAM as a basis for reworking the mottos and seals of the fifty states that debuted at the 2014 NYC Poetry Festival. Originally from Texas, Withers has exhibited her work throughout the country and extensively in New York City, Massachusetts and Texas, and internationally in Brussels, Australia, Berlin, China, Vienna and Russia. Her work is included in multiple private collections and has won numerous awards including fellowships to the Vermont Studio Center and the Millay Colony, and a 2013 USA Project Grant.
Erik H Zepka is an interdisciplinary researcher interested in the intersections of art, science, philosophy, poetry and coincident practices. His multidimensional, polynymic work has been published, presented and exhibited internationally.
At first glance this show seems rather self-explanatory, and perhaps it is, but it also invites other, and perhaps more circuitous considerations. What is it exactly to publish one's self? Is there any exact way to publish one's self? How long do you have to keep doing it until it is done? Perhaps there are many exact ways to publish one's self. But then, what is the self? A set of residues, relations, instances inviting hermeneutic closure, or opening, soul(s), fetish(es), word(s), organism, or virtuality? Culture has seen fit to provide us with a plethora of more or less formal and informal answers, everything from 'selfies' to book-long ruminations on metaphysical conundrums, psychology, mysteries, zines, or complex physical and chemico-mathematic descriptions. For the most part, the self has become a playfully open-ended question which finds its home in media, and those media may take a plethora of forms.
In self-published, I haven't attempted to skirt the semantic nature of the subject, but embrace it. Some of these examples fulfill both categories easily, and by that I mean, the artist is both publishing some version of a self, or selfhood, but also taking the reins of production into their own hands, whatever that means exactly, or inexactly. And the question might also be carried into the political realm. Is a corporation a "self"? Is art that is produced within our social media streams part of a collective self? Can the value of the self be quantified easily, or is it something more subtle, the original difficulty so to speak, some kind of illusory or quantum relationality, an in-betweeness that must be performed, and as a performance, stored in various forms, sometimes even becoming a commodity. Is 'becoming' a commodity? Is self itself a longing, a reduction to assuage a monolithic yet ephemeral transcendence of our own complexity? Or is it our expansive telling which is our actual home, our self-portrait, or self-publish? It is along all these lines that the participants have been gathered to the foreground.
For more information about self-published or for more information about Cohn Drennan Contemporary, please go to www.cohndrennancontemporary.com or call 214.708.8051 or email@example.com. The gallery is located at 4118 Commerce, Dallas, TX and hours of operation are Thursday through Saturday 12:00 to 7:00 p.m.
Kai Peter Martin, Oblivion Moves
Opening Reception December 6, 2014, 6:00 – 9:00 pm
Exhibition Dates, December 6, 2014 – January 10, 2015
Cohn Drennan Contemporary is pleased to announce a one-person exhibition of paintings by Kai Peter Martin. Martin’s work uses both drawing and painting techniques to address his interest in the relation between figures and environment, often composing multiple scenes into a sweeping narrative. Martin is concerned with the impact psychological space has on narrative and the nature of representation, using strategies such as multiple perspectives and the use of text to expand the mental field of play.
There appears to be two interwoven languages at play in Kai’s work. One is based on the narrative qualities of the representational imagery and the other is based on the abstract qualities of developing the form and applying the paint. The adventure of the process is genuine. – Vincent Falsetta, November 2014, Professor, Drawing and Painting, University of North Texas
Oblivion Moves, 2014, oil on linen, 76 x 54 inches
A space apart is as good a definition for art as any. Painting in particular is a locale—fictive and illusory—that almost unwittingly places us back into the substance of our lives. With all of its abstract and visionary imaginings, art directs us toward a felt, psychological and intellectual response to small and large sensations. Kai Martin’s drawings and paintings are both an example of this social site of art and are directly “about” a dreamlike territory intended as a form of mental imprint. His visually rich paintings frequently strike me as odd travelogues unraveling and then loosely cohering into depictions of people and plants amid dilapidated or derelict buildings. Essentially Kai’s work seems to emerge from an act of wandering in which images, and perhaps meanings, amble across a landscape both actual and entirely of his own making. - Matthew Bourbon, November 2014, Associate Professor, Drawing and Painting, University of North Texas
The artist has exhibited throughout Texas and the U.S. at various venues and has received numerous scholarships and awards. Born in Austin, Kai Peter Martin received a BA in Painting from Reed College in Portland, Oregon and is currently pursuing an MFA in Drawing and Painting at the University of North Texas.
For more information about Kai Peter Martin, Oblivion Moves or for more information about Cohn Drennan Contemporary, please go to www.cohndrennancontemporary.com or call 214.708.8051 or e-mail firstname.lastname@example.org. The gallery is located at 4118 Commerce, Dallas, TX and hours of operation are Thursday through Saturday 12:00 to 7:00 p.m.
Robert Milnes Gallery Talk, July 19, 2014.