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ART IN DOOM

A Springtime Group Exhibition

Curated by Matthew Weldon Showman

February 29 – April 11, 2020

TIFFANY CALVERT, #286, 2017

TIFFANY CALVERT

#286, 2017

oil on inkjet print on canvas

28h x 22w in

TIFFANY CALVERT, #325, 2019

TIFFANY CALVERT

#325, 2019

oil on inkjet print on canvas

28h x 22w in

TIFFANY CALVERT, #341, 2019

TIFFANY CALVERT

#341, 2019

oil on inkjet print on canvas

28h x 22w in

TIFFANY CALVERT, #323, 2019

TIFFANY CALVERT

#323, 2019

oil on digital print on canvas

28h x 22w in

TIFFANY CALVERT, #334, 2019

TIFFANY CALVERT

#334, 2019

oil on digital print on canvas

28h x 22w in

TIFFANY CALVERT, #316, 2018

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

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

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

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

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

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

BETH CARTER

Rag Donkey, 2015

bronze with jesmonite base

37h x 11w x 10d in
edition 1 of 8

BETH CARTER, Brothers, 2017

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

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

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

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

PETER OLSON

1st Sin (#1), 2018

wheel-thrown ceramic porcelain mix, original photography

15h x 7w in

PETER OLSON, 1st Sin (#2), 2018

PETER OLSON

1st Sin (#2), 2018

wheel-thrown ceramic porcelain mix, original photography

19h x 9w in

PETER OLSON, 1st Sin (#3), 2018

PETER OLSON

1st Sin (#3), 2018

wheel-thrown ceramic porcelain mix, original photography

15h x 8w in

PETER OLSON, 1st Sin (#4), 2018

PETER OLSON

1st Sin (#4), 2018

wheel-thrown ceramic porcelain mix, original photography

14h x 6w in

PETER OLSON, Impending Doom, 2019

PETER OLSON

Impending Doom, 2019

wheel-thrown ceramic porcelain mix, original photography

11h x 8w in

PETER OLSON, Reliquary (Death and Skulls), 2019

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

PETER OLSON

Jar with Upright Skeletons, 2019

wheel-thrown ceramic porcelain mix, original photography

12h x 8w in

PETER OLSON, Jar with Skulls, 2019

PETER OLSON

Jar with Skulls, 2019

wheel-thrown ceramic porcelain mix, original photography

13h x 8w in

NORA SEE, Reality Show, 2019

NORA SEE

Reality Show, 2019

acrylic and patinaed oil on panel

24h x 36w in

NORA SEE, Princess, 2019

NORA SEE

Princess, 2019

oil on canvas

48h x 24w in

NORA SEE, Alabama Goddamn, 2020

NORA SEE

Alabama Goddamn, 2020

oil and acrylic on panel

24h x 36w in

NORA SEE, Get Out, 2020

NORA SEE

Get Out, 2020

oil on panel

36h x 36w in

WILLIAM WOODWARD, Sins in Concert, 2014

WILLIAM WOODWARD

Sins in Concert, 2014

oil on linen

64h x 95w in

WILLIAM WOODWARD, Avarice, 2014

WILLIAM WOODWARD

Avarice, 2014

oil on linen

62h x 51w in

WILLIAM WOODWARD, Pride, 2014

WILLIAM WOODWARD

Pride, 2014

oil on linen

62h x 51w in

Press Release

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 – 11 April 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