TIFFANY CALVERT
TIFFANY CALVERT
#286, 2017
oil on inkjet print on canvas
28h x 22w in
TIFFANY CALVERT
#325, 2019
oil on inkjet print on canvas
28h x 22w in
TIFFANY CALVERT
#341, 2019
oil on inkjet print on canvas
28h x 22w in
TIFFANY CALVERT
#323, 2019
oil on digital print on canvas
28h x 22w in
TIFFANY CALVERT
#334, 2019
oil on digital print on canvas
28h x 22w in
TIFFANY CALVERT
#316, 2018
oil on inkjet print on canvas
60h x 48w in
This painting is based on Rachel Ruysch’s, Vase of Flowers, 1700. The painting contains an example of the Dutch tulip most prized during Tulipomania: Semper Augustus. Striping is caused by a virus that infects the bulb - “The virus also weakens the bulb and retards the plant's propagation through offset growths; as it progresses through each generation the bulb grows stunted and weak. Eventually, it has no strength to flower, and either breaks apart or withers away, ending the genetic line. For this reason the most famous examples of tulips from color-broken bulbs – the Semper Augustus and the Viceroy – no longer exist.”
- Wikipedia
There is a parallel between a virus infecting the bulb and creating aberrations in its appearance (making it more rare and prized) and the aberrations I create using code altering software to create “glitches.”
TIFFANY CALVERT
#305, 2018
oil on inkjet print on canvas
60h x 48w in
Based on a painting by lesser known Dutch artist P.W. Windtraken [P. W. Windtraken (Dutch, active in Amsterdam 1687-1691), Bouquet of Flowers in a Glass Vase, about 1690, oil on canvas. Private collection.] The original image code was altered by me using code editing software before printing on canvas.
TIFFANY CALVERT
#327, 2019
oil on inkjet print on canvas
60h x 48w in
This painting is based on Rachel Ruysch’s, Vase of Flowers, 1700. The painting contains an example of the Dutch tulip most prized during Tulipomania: Semper Augustus. Striping is caused by a virus that infects the bulb - “The virus also weakens the bulb and retards the plant's propagation through offset growths; as it progresses through each generation the bulb grows stunted and weak. Eventually, it has no strength to flower, and either breaks apart or withers away, ending the genetic line. For this reason the most famous examples of tulips from color-broken bulbs – the Semper Augustus and the Viceroy – no longer exist.”
- Wikipedia
There is a parallel between a virus infecting the bulb and creating aberrations in its appearance (making it more rare and prized) and the aberrations I create using code altering software to create “glitches.”
TIFFANY CALVERT
#328, 2019
oil on inkjet print on canvas
60h x 48w in
This painting is based on Rachel Ruysch’s, Vase of Flowers, 1700. The painting contains an example of the Dutch tulip most prized during Tulipomania: Semper Augustus. Striping is caused by a virus that infects the bulb - “The virus also weakens the bulb and retards the plant's propagation through offset growths; as it progresses through each generation the bulb grows stunted and weak. Eventually, it has no strength to flower, and either breaks apart or withers away, ending the genetic line. For this reason the most famous examples of tulips from color-broken bulbs – the Semper Augustus and the Viceroy – no longer exist.”
- Wikipedia
There is a parallel between a virus infecting the bulb and creating aberrations in its appearance (making it more rare and prized) and the aberrations I create using code altering software to create “glitches.”
TIFFANY CALVERT
#338, 2019
oil on inkjet print on canvas
60h x 48w in
This painting is based on Rachel Ruysch’s, Vase of Flowers, 1700. The painting contains an example of the Dutch tulip most prized during Tulipomania: Semper Augustus. Striping is caused by a virus that infects the bulb - “The virus also weakens the bulb and retards the plant's propagation through offset growths; as it progresses through each generation the bulb grows stunted and weak. Eventually, it has no strength to flower, and either breaks apart or withers away, ending the genetic line. For this reason the most famous examples of tulips from color-broken bulbs – the Semper Augustus and the Viceroy – no longer exist.”
- Wikipedia
There is a parallel between a virus infecting the bulb and creating aberrations in its appearance (making it more rare and prized) and the aberrations I create using code altering software to create “glitches.”
BETH CARTER
Broken Carnival, 2017
bronze with polished steel base
27.50h x 12w x 19.50d in
edition 2 of 10
BETH CARTER
Rag Donkey, 2015
bronze with jesmonite base
37h x 11w x 10d in
edition 1 of 8
BETH CARTER
Brothers, 2017
bronze with polished steel base
35h x 17.50w x 12.50d in
edition 2 of 10
BETH CARTER
Carnival Figure, 2011
bronze with terracotta base
19.50h x 10w x 8d in
edition 2 of 15
BETH CARTER
Petal Repairer, 2013
bronze resin with jesmonite base
24h x 11w x 8.50d in
edition 4 of 15
BETH CARTER
Standing Minotaur I, 2012
bronze
47h x 22.50w x 22.50d in
edition 5 of 8
PETER OLSON
1st Sin (#1), 2018
wheel-thrown ceramic porcelain mix, original photography
15h x 7w in
PETER OLSON
1st Sin (#2), 2018
wheel-thrown ceramic porcelain mix, original photography
19h x 9w in
PETER OLSON
1st Sin (#3), 2018
wheel-thrown ceramic porcelain mix, original photography
15h x 8w in
PETER OLSON
1st Sin (#4), 2018
wheel-thrown ceramic porcelain mix, original photography
14h x 6w in
PETER OLSON
Impending Doom, 2019
wheel-thrown ceramic porcelain mix, original photography
11h x 8w in
PETER OLSON
Reliquary (Death and Skulls), 2019
wheel-thrown ceramic porcelain mix, original photography
12h x 11w in
PETER OLSON
Jar with Upright Skeletons, 2019
wheel-thrown ceramic porcelain mix, original photography
12h x 8w in
PETER OLSON
Jar with Skulls, 2019
wheel-thrown ceramic porcelain mix, original photography
13h x 8w in
NORA SEE
Reality Show, 2019
acrylic and patinaed oil on panel
24h x 36w in
NORA SEE
Princess, 2019
oil on canvas
48h x 24w in
NORA SEE
Alabama Goddamn, 2020
oil and acrylic on panel
24h x 36w in
NORA SEE
Get Out, 2020
oil on panel
36h x 36w in
WILLIAM WOODWARD
Sins in Concert, 2014
oil on linen
64h x 95w in
WILLIAM WOODWARD
Avarice, 2014
oil on linen
62h x 51w in
WILLIAM WOODWARD
Pride, 2014
oil on linen
62h x 51w in
29 February 2020 (New Orleans, LA)JONATHAN FERRARA GALLERY is proud to announce, Art In Doom, a springtime group exhibition curated by Gallery Director Matthew Weldon Showman. This contradictory and ironic exhibition features work from established artists working across a wide range of mediums, including painting, photography, sculpture, and ceramics. Art in Doom will be on view 29 February – 15 August 2020 with opening receptions on 7 March and 4 April in conjunction with the Arts District New Orleans’ First Saturday Gallery Openings.
Death. Destruction. Ill fate. Art in Doom features artworks by Tiffany Calvert, Beth Carter, Peter Olson, Nora See, and William Woodward, visually elucidating such unsavory subjects as: political corruption, gender inequality, religious pathology and the human condition. Cheekily scheduled during the springtime, a time of rebirth and rejuvenation, this exhibition derives its name from the event “Art in Bloom” which occurs at numerous museums nationwide during this time period. Taking a stark rejection of the idealization of Springtime, this exhibition highlights the dark and twisted pathos of humanity that is ever-present . . .
William Woodward’s masterful paintings present a satiric reflection of reality through the personification of the Seven Deadly Sins. His paintings hold up a mirror to society and force the viewer to acknowledge the extent to which their own inner selves are reflected in the scene.
Likewise, Beth Carter makes a similar commentary on humanity by blending human and animal figures in her bronze sculptures. Through savage distortions of the human face and body, she highlights humanity’s predisposition to animalistic behavior. The resulting imagery showcases the human desire to see ourselves as separate from the natural world while also highlighting our inability to ever achieve a true separation from the animal within.
Nora See, on the other hand, takes a much more forward approach with the messages in her paintings. With a harsh candor, Nora See’s paintings dissect the current socio-political climate and force the viewer to reckon with the gruesome and painful realities that have resulted for many as a result of the actions of people in power. Her paintings shed light on the harsh realities of contemporary society, including dehumanization, manipulation, and abuse of power.
Peter Olson’s artwork has harmonized photography and ceramics in vessels whose shapes hearken back to the ancient world. As bands of imagery spin around the thrown and assembled ceramic garnitures, there is a feeling that time is passing, history is revealing itself, a story is being told. The skeletal imagery, religious iconography, and the urn-like shapes of the self-contained vessels explore the artists’ meditations on the temporality of life and the perpetuation of time.
As an artist, Tiffany Calvert applies contemporary painting techniques to seventeenth-century Dutch floral still life, whose themes have traditionally underscored the transience and impermanence of life. She uses these vanitas images as a springboard for exploring the shifting nature of human perception, employing techniques such as gridding, fragmentation, and image reversal in order to obstruct and interrupt the viewer’s perception of the image. Like a digital “glitch” or a scrambled transmission, Calvert generates paintings that are suspended in a moment, simultaneously on the verge of destruction or cohesion.
For more information, press or sales inquiries please contact Gallery Director Matthew Weldon Showman at 504.343.6827 or matthew@jonathanferraragallery.com. Please join the conversation with JFG on Facebook (@JonathanFerraraGallery), Twitter (@JFerraraGallery), and Instagram (@JonathanFerraraGallery) via the hashtags: #ArtInDoom, #JonathanFerraraGallery and #ArtsDistrictNewOrleans
As the New Orleans Museum of Art was making preparations for Art in Bloom, a yearly Spring event, the Jonathan Ferrara Gallery opened Art in Doom: A Springtime Group Exhibition. The slightly derisive title became premonitory overnight in light of the COVID-19 pandemic
There are artists who paint, and those who use paint. John Yau reviews JFG artist Tiffany Calvert
