Art Hysterical

Curated by Matthew Weldon Showman

June 1 – July 30, 2016

First Saturday Gallery Openings ||| 4 June and 2 July, 6-9PM

ADAM MYSOCK
On a Snowy Night, 2016
acrylic on panel
6 x 9.25 inches
after: Nighthawks (1942) by Edward Hopper

ADAM MYSOCK
Where the Snow in Snow Globes Came From, 2016
acrylic on panel
6 x 7.75 inches

ADAM MYSOCK
So Abram departed, as the LORD had spoken unto him;
and Lot went with him: and Abram was seventy and five
years when he departed out of Haran
, 2011
acrylic on panel
16 x 14 inches

This piece began with two stories about striking a rock to get water – that of Moses from Exodus and that of the S.S. Minnow of Gilligan’s Island. In Exodus, Moses responds to the thirsty complaints of the wandering Israelites – he strikes a rock with his staff and water pours out (seen here in the background to the right from Abraham Bloemaert’s Moses Striking the Rock). In Gilligan’s Island, the S.S. Minnow strikes a rock and water pours in. In both, the rock/water combination serves as both reminder of death (dehydration or drowning) and the instrument for the affirmation of life. The main image for this piece, Winslow Homer’s Basket of Clams, offers another look at striking a hard surface in order to establish a relationship between life and death – the idea of tapping an opened clam on the shell to see if it will close (a sure sign it’s alive and edible).

PAUL NINAS
Untitled (Abstract Blue and Pink Nudes), c. 1954
oil on masonite
48 x 36 inches

PAUL NINAS
A Secret Alliance, c. 1949
oil on canvas board
​16 x 20 inches

PAUL NINAS
Untitled (Geometric Abstraction), c. 1945
oil on canvas
​28 x 36 inches

PAUL NINAS
Untitled (Two Women with Baskets), unknown
oil on canvas
​13 x 18 inches

RACHEL BURCH WILLIAMS
My Ghost (vanitas), 2014
oil on linen
46 x 32 inches

RACHEL BURCH WILLIAMS
Cabinet of Curiosities (vanitas), 2008
oil on board
48 x 30 inches

RACHEL BURCH WILLIAMS
Eye 1 (after Bronzino, Bia, right), 2015
oil on board
10 x 10 inches

RACHEL BURCH WILLIAMS
Eye 2 (after Bronzino, Maria, right), 2015
oil on board
10 x 10 inches

RACHEL BURCH WILLIAMS
Eye 3 (after Ingres), 2015
oil on board
10 x 10 inches

RACHEL BURCH WILLIAMS
Eye 5 (after Bronzino, Bia, left), 2015
oil on board
10 x 10 inches

RACHEL BURCH WILLIAMS
Eye 6 (after Bronzino, Medici), 2015
oil on board
10 x 10 inches

RACHEL BURCH WILLIAMS
Eye 7 (after Van Dyck, Henrietta), 2015
oil on board
10 x 10 inches

RACHEL BURCH WILLIAMS
Eye 8 (after Bronzino, Eleanora), 2015
oil on board
10 x 10 inches

RACHEL BURCH WILLIAMS
Eye 10 (after Guido Reni), 2015
oil on board
10 x 10 inches

RACHEL BURCH WILLIAMS
Eye 11 (after Bronzino, Maria, left), 2015
oil on board
10 x 10 inches

GENERIC ART SOLUTIONS
Sid, 2013
archival inkjet print
26.25 x 18.5 inches
Edition of 5, 2 APs

GENERIC ART SOLUTIONS
Caligula, 2013
arhival inkjet print
26.25 x 18.5 inches
Edition of 5, 2 APs

GENERIC ART SOLUTIONS
The Ecstacy of Saint Teresa, 2013
archival inkjet print
50.25 x 32.75 inches
Edition of 5, 2 APs

GENERIC ART SOLUTIONS
The Capture of Christ (Judas Kiss), 2009
archival print
24 x 36 inches
Edition of 6

GENERIC ART SOLUTIONS
David and Goliath, 2007
archival print
24 x 36 inches
Edition of 6

GENERIC ART SOLUTIONS
David and Goliath, 2013
archival inkjet print
43.25 x 32.75 inches
Edition of 5, 2 APs

GENERIC ART SOLUTIONS
Sticks and Stones (A Study After Bernini's David), 2011
archival inkjet print on photographic paper
diptych, 36 x 21 inches
Edition of 6

GENERIC ART SOLUTIONS
Ophelia, 2009
archival print
30 x 45 inches
Edition of 6

GENERIC ART SOLUTIONS
Narcissus, 2007
archival print
36 x 36 inches
Edition of 6, 1 AP

GENERIC ART SOLUTIONS
Narcissus, 2007
archival print
36 x 36 inches
Edition of 6, 1 AP

E2 - KLEINVELD & JULIEN
Ode to Leutze's Washington Crossing the Delaware, 2016
archival pigment print
30.5 x 48 inches
extra large: 30.5 x 48 inches, edition of 3, 2 APs
large: 20 x 30 inches, edition of 3, 2 APs
medium: 16 x 20 inches, edition of 5, 2 APs

E2 - KLEINVELD & JULIEN
Adam and Steve, 2013
archival pigment print
large: 30 x 20 inches, edition of 3, 2 APs
medium: 24 x 15 inches, edition of 5, 2 APs
small: 19 x 13 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN
Ode to Aman's Creole with a Red Headdress, 2012
archival pigment print
large: 30 x 20 inches, edition of 3, 2 APs
medium: 24 x 15 inches, edition of 5, 2 APs
small: 19 x 13 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN
Ode to Manet's Dejeuner sur l'herbe, 2011
archival pigment print
large: 20 x 30 inches, edition of 3, 2 APs
medium: 15 x 24 inches, edition of 5, 2 APs
small: 13 x 19 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN
Ode to Manet's Olympia, 2011
archival pigment print
large: 20 x 30 inches, edition of 3, 2 APs
medium: 15 x 24 inches, edition of 5, 2 APs
small: 13 x 19 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN
Ode to the Pinching D'Estrées Sisters, 2011
archival pigment print
large: 24 x 35 inches, edition of 3, 2 APs
medium: 16 x 20 inches, edition of 5, 2 APs
small: 13 x 19 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN
Ode to Van Eyck's Arnolfini Marriage, 2012
archival pigment print
large: 30 x 20 inches, edition of 3, 2 APs
medium: 24 x 15 inches, edition of 5, 2 APs
small: 19 x 13 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN
Ode to Velasquez' Venus at her Mirror, 2011
archival pigment print
large: 20 x 30 inches, edition of 3, 2 APs
medium: 16 x 20 inches, edition of 5, 2 APs
small: 13 x 19 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN
Ode to Vermeer's Girl with a Pearl Earring, 2012
archival pigment print
large: 32 x 26 inches, edition of 3, 2 APs
medium: 24 x 15 inches, edition of 5, 2 APs
small: 19 x 13 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN
Ode to Whistler's Arrangement in Grey and Black No. 1, 2014
archival pigment print
large: 30 x 20 inches, edition of 3, 2 APs
medium: 24 x 15 inches, edition of 5, 2 APs
small: 19 x 13 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN
Ode to Van Eyck's Self Portrait, 2012
archival pigment print
large: 30 x 20 inches, edition of 3, 2 APs
medium: 24 x 15 inches, edition of 5, 2 APs
small: 19 x 13 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN
Portrait of a White Woman, 2011
archival pigment print
large: 30 x 20 inches, edition of 3, 2 APs
medium: 20 x 16 inches, edition of 5, 2 APs
small: 16.5 x 12 inches, edition of 7, 2 APs

E2 - KLEINVELD & JULIEN
Remaking Marat, 2013
archival pigment print
large: 30 x 20 inches, edition of 3, 2 APs
medium: 24 x 15 inches, edition of 5, 2 APs
small: 19 x 13 inches, edition of 7, 2 APs

NORA SEE
First Kiss (after Gustav Klimt), 2015
oil and metal leaf on panel
24 x 18 inches

NORA SEE

Self-Portrait II, 2015

oil on canvas

24 x 18 inches

after Vincent van Gogh

NORA SEE
Alive, 2015
oil on canvas
24 x 30 inches

NORA SEE
Le Fantasme (after Kees van Dongen), 2016
oil on canvas
24 x 18 inches

NORA SEE
Fantazja (after Tamara de Lempicka), 2016
oil on canvas
24 x 18 inches

NORA SEE
Hard (after René Magritte), 2016
oil on canvas
24 x 18 inches

NORA SEE
Harder, 2016
oil on canvas
24 x 18 inches

NORA SEE
Apoperiation, 2012
oil on canvas
24 x 18 inches

NORA SEE
Countermonument, 2014
oil and acrylic on canvas
​30 x 48 inches

NORA SEE
Countermonument [detail], 2014
oil and acrylic on canvas
​30 x 48 inches

NORA SEE
Inundation, 2014
oil on canvas
​24 x 30 inches

NORA SEE
Parents Devouring Our Children, 2013
oil on canvas
​48 x 30 inches

NORA SEE
Portrait of Madame Why, 2012
oil on canvas
​24 x 18 inches

NORA SEE
Reimago, 2015
oil on panel
​24 x 18 inches

NORA SEE
Zontanarhia, 2012
oil on canvas
​24 x 18 inches

Press Release

JONATHAN FERRARA GALLERY is proud to present Art Hysterical, a group exhibition curated by Matthew Weldon Showman, featuring six New Orleans based artists of various media employing references to art history in the exploration of contemporary themes. Participating artists include: E2 - Kleinveld and Julien, Generic Art Solutions, Adam Mysock, Paul Ninas, Nora See and Rachel Burch Williams. The exhibition will be on view in the aft gallery from 1 June to 30 July with First Saturday Gallery Openings on 4 June and 2 July from 6-9pm.  

Showman elaborates on the concept and themes of the exhibition . . .

We see these famous images from Art History appropriated on all sorts of objects of high and low culture from mugs to scarves, calendars, umbrellas even posters and the list goes on and on. The scope of these proliferated masterpieces is not limited to the ever most popular renaissance works, but rather offers a full range of Art History through Modernism and Contemporaneity.  Art appreciator or not these images are recognizable, even unavoidable.

In my continuing effort to share and make contemporary art more approachable for a larger audience, I am exploring this familiarity of famous artworks through contemporary works with direct references to the originals. Through this recognition, the perceived intimidation of entering a gallery dissipates as the viewer feels an immediate sense of knowledge and understanding. This allows for a certain amount of comfort and enjoyment in the engagement with the work. Yet, to simply replicate these masterpieces would be neither interesting nor relevant to the narrative of Contemporary Art.

Each artist in the exhibition, in their own respective and characteristic style, re-contextualizes their own masterpieces to appeal to the current cultural climate. I observed a strong stylistic trend of this sort in the New Orleans art scene upon my arrival five years ago prevalent in artists of varying mediums and career levels. Whether it is re-writing the predominantly Caucasian European art history with the inclusion of people of Asian and African descent in the photographs of artist duo E2 - Kleinveld and Julien or turning the tables of female objectification onto the male form in Nora See’s paintings; these contemporary works offer an extra aspect of relatability in their tackling of the various issues of the present.

There is also a sense of humor in many of these works, particularly in that of Adam Mysock’s ode to Edward Hopper’s “Nighthawks” where the interior of the diner becomes a snow globe and posits concerns of climate change and environmental sustainability. In the same fashion as the old masters, these six talented artists’ oeuvres are rendered masterfully in technique, embody and react to their context, and understand their audience and vice versa . . . they are contemporary masters and the future of art history.

Matthew Weldon Showman received his BA in the History of Art and Architecture and Historic Preservation from the University of Pittsburgh in 2011 and is currently working towards his MA in Art History. He spent half of his undergraduate career researching in Europe where he lived in Paris and London, studying in the famous institutions housing the old Masters as well as working on exhibitions with various institutions in each city.

Showman has extensive experience in museums. Prior to his appointment as Director at Jonathan Ferrara Gallery he held positions in Pittsburgh at the Andy Warhol Museum, the Carnegie Museum of Art, Frick Fine Arts Library, University of Pittsburgh Art Gallery, Society for Contemporary Craft and Westmoreland Museum of American Art, as well as abroad at Dulwich Picture Gallery and Tate Modern in London, and Centre Georges Pompidou in Paris.

Showman is an active member of the New Orleans’ arts community. He is the Marketing Director of Arts District New Orleans, member of the Kohlmeyer Circle at the Ogden Museum of Southern Art and Pelican Bomb’s Members Club, and continues to curate exhibitions at the gallery as well as independently. Most recently he became partner in Jonathan Ferrara Gallery.

Please join the conversation with JFG on Facebook (@Jonathan Ferrara Gallery), Twitter (@JFerraraGallery), and Instagram (@JonathanFerraraGallery) via the hashtags #ArtHysterical and #JonathanFerraraGallery.