Online Exhibition #5
The guest curators for the fifth online exhibition are Ornis Althuis and Jeanine Hofland
Althuis Hofland Fine Arts was established in September 2018 by Ornis Althuis (1987) and Jeanine Hofland (1983) and is located within the historical centre of Amsterdam. The gallery has a strong focus on the medium of painting spanning different generations and works closely with curators and collectors in the field. The gallery is strongly committed to presenting its artists’ work in an international context and participates in important art fairs world wide (such as NADA Miami, Art Brussels, Art-O-Rama, Marseille etc). We enjoy being connected to everyone with a curious eye, and a genuine love for the arts; from first encounter, first acquisitions to art professionals.
Althuis Hofland Fine arts collaborates with:
David Noro, Polina Barskaya, Austin Eddy, Katarina Janeckova, Duncan Hannah, Hannah Perry, Tom Goldenberg, Jan Pleitner, Jasper Hagenaar, Marliz Frencken, Jan Knap, Waldemar Zimbelmann, Rumiko Hagiwara, Tanja Ritterbex, Julius Hofmann, Bart Kok, Isheanesu Dondo
Will do future exhibitions with:
Eva Beresin, Scott Kahn, Salvo, Aurelie Salavert and Abel Rodriguez.
Has collaborated with:
Gareth Nyandoro, Shara Hughes, Salvo and Rosa Loy.
Prior to opening Althuis Hofland Fine Arts both Hofland and Althuis have gained extensive experience within the art field by directing an art gallery independently (“Jeanine Hofland Contemporary Art” and “Ornis A. Gallery”), and by working for private collections and institutions. Jeanine Hofland founded ‘A Petite Fair’, a traveling art fair being the inspiration for CONDO.
Between September 2018 and February 2020 the gallery used its small cellar space (8m2, H.180cm) as a project space entitled The Gemma. The Gemma hosted a.o. screenings (Taus Makhacheva), was an exhibition space of local artist initiatives (Root canal), and functioned as an artists’ bar entitled ‘Art Bar Kippy Bar’ that organized new exhibitions weekly.
Thank you all so much for have taken the time to send in your works. It was a great joy to scroll through all of it, and research more of it on your Instagram pages and/ or websites. The quality was impressive!
This is why we have decided to approach this curatorial selection in the same manner we usually archive artists we intuitively appreciate when scrolling through instagram, or encounter in the “wild”.
For all of you who havent been selected; our view is not leading and please never give up!
XXX and hope to meet you all one day in person, Jeanine & Ornis"
The selected artists in no particular order are Madi Acharya-Baskerville, Megan Greene, Dimitra Liogka, Michael Luther, Sherry Kerlin, Alicia Reyes McNamara, Eleanor Olson, Ilsa Jones, Kristína Bukovčáková, Jessica Dzielinski, Cait Porter, Niels Broszat, Rebecca Poarch, Lynn Stein, Sophia Heymans, Elizabeth Tibbetts, Adam Lupton, Tsai-Ling Tseng, Natisa Jones, Loc Huynh, Julie Yeo, Rae Hicks, Pallavi Singh, Karen Barbour
Annie Brito Hodgin, Seth Pick, Jennifer Smith, Hayley Youngs, Aviv Keller, Gwen Davis-Barrios, Natacha Martins, Aaron Troyer, Thomas Bils, Leeza Negelev, Sander van Noort, Myrto Papadaki, Josiah Ellner, Hannah Cosac Naify, Jem Ham, Nell Brookfield, Rafael Francisco Salas.
Accuser, 2020, Colored pencil on paper, 26" x 19.5"
Eye N Eye, 2020, Colored pencil on paper, 25.75" x 19.25"
Ship On Fire, 2020, Colored pencil on paper, 24.5"x 18.75"
Eleanor Quist Costello Olson
Fire, 2020, Oil on masonite, 4x5 ft.
Flood, 2020, Oil on masonite, 4x5 ft.
Berlin, 2009, Oil on canvas, 20"x14"
Mama Told Me So, 2018, Ink, Acrylic, Gouache on paper, 40.8 cm x 29.7
Collision, 2020, Acrylic on mdf, 29" x 48"
This is Fine/Summer 2020, 2020, Acrylic on canvas, 24" x 24"
Feeling Groovy, 2020, Oil paint on dyed muslin, 50"x55"
I died in California, 2020, Mixed media (acrylic, oil pastel, nupastel), 27.5" x 27"
Cut apple, 2021, acrylic on canvas, 110x110 cm
Icon #026, 2019, Egg tempera and oil paint on panel, 42 x 33 cm
Alicia Reyes McNamara
Misunderstood spirit, 2020, Pastel and coloured pencil, 29.7 x 21cm
From within, 2020, Pastel and coloured pencil on paper
21 x 29.7cm
Eye to eye, 2020, Pastel on paper, 21 x 29.7cm
Rainy Day, 2020, Acrylic on Canvas, 20" x 16"
Running into People at the Gym, 2019, Acrylic on Canvas
20" x 16"
Chicago Lights, 2020, Acrylic on Canvas, 20"x 16"
Artemisia's Serpent, 2020, Acrylic on Canvas, 52x44cm
Rafael Francisco Salas
Untitled Interior (Horses), 2020, Oil on canvas, 30" x 42"
Allegorical setting with Figure and Deer, 2020, Oil on canvas, 42" x 30"
In Flowered Fields (Autumn) #2, 2020, Oil on canvas, 40" x 32"
Gluttony, 2019, Oil on canvas, 200x220cm
O' You Crazy Moon, 2020, Oil on canvas, 34"x27"
Waiting, 2021, Oil on canvas, 44"x34"
Before There Was Hope, 2021, Oil on canvas, 34"x26"
Badlands. 2020, Paper mâché, moss, dryer lint, oil on canvas, 50" x 60".
Snow Like Stars. 2020, paper mâché, prairie grass seeds, moss, mop strings, oil on canvas, 50" x 60".
Always Falling, 2021, paper mâché, molding paste, moss, mop strings, oil on canvas, 42" x 42"
It's Only the Beginning, 2020, Oil, Acrylic, and Graphite on Canvas, 16" x 20"
Earth Landing, 2021, Oil, Acrylic, and Graphite on Canvas, 40" x 50"
Brush Strokes (Palette, w.e.c.) #04, 2021, Ink on handmade paper, 30 x 30 cm
23 Brush Strokes (gradient, diagonal) #02, 2020, ink on handmade paper, 40 x 40 cm
Alptraum, 2020, Oil on canvas, 60x 80cm
Window at 11pm, 2021, Oil on Canvas, 24" x 20"
Mardon Wali Baat: Chapter1, 2020, Acrylic, ink and chai on Paper, 3 x 29" x 22" (triptych)
Mardon Wali Baat: Colony life, 2020, Acrylic on Paper, 29.5" x 42"
Mardon Wali Baat: Reclamation from the past, 2020, Acrylic on
Paper, 29.5" x 21"
Swimmy, 2020, Oil paint and sand, 51”x 44”
The Seat of Perplexion, 2020, Acrylic on linen, 36” x 32”
Ouroboros, 2020, Oil on paper, 30" x 22”
Handoval, 2020, Oil on paper, 22" x 30”
Conversion, 2020, Oil on paper, 22" x 30”
Großglockner, 2020, Oil on panel, 24"x18”
Annie Brito Hodgin
Blood Moon, 2020, Oil on canvas, 24"x20”
Watch, 2020, Oil on panel, 24"x18”
The Banana Painting, 2020, Oil on found wood, 51" x 46”
The Forager’s Dream, 2020, Oil on found wood, 33" X 33”
A picture containing food, sandwich, cake, sitting, 2020, Gouache and acrylic on paper, 11.5" x 12”
Sander van Noort
Een wollig gezwets, 2020, Oil paint on canvas, 135 x 150 cm
Amusing the Void, 2020, Colored pencil, graphite, 5.5" x 8.5”
Insects and Giants, 2020, Graphite, 5.5' x 8.5”
Begging in Nightmares, 2020, Colored pencil, graphite, 9" x 12”
Hannah Cosac Naify
Memories Repeat, 2020, Oil, sand, canvas, Pins on canvas, 63" x 65”
The Plant, 2020, Oil on canvas, 145x175cm
Night On Earth, 2020, Oil on wood panel, 50x60cm
Overwatch, 2020, Oil on canvas, 50x70cm
A Place Where You Live, 2020, Oil on panel, 48" x 48”
Acceptance, 2020, Mixed media on canvas, 100x90cm
Crucificação e Deposição de Cristo (“Cruxifiction and Deposition of Christ”), 2019, Oil and Charcoal on MDF, Painted Wall and Performance, 208 x 92 x 2 cm
All Painters Are Liars, 2020, Oil and Charcoal on Wood, 62 X 40 cm
If we were stones, there would be fire, 2020, Oil on canvas, 75" x 70”
Across the univers, 2020, Oil on board, 90" x 60”
Great Lantana, 2018 – 2020, Embroidery (hand embroidery)
94" x 70”
Alone, 2019, Marker on paper, 23"x 26"
Bridge, 2019, Marker on paper, 33" x 38"
Home 1, 2019, Marker on paper, 25" x 27"
Delta Lounge, 2020, Acrylic on canvas, 24" x 30"
I'd Rather Be In Paris: A Self-Portrait, 2020, Acrylic on
canvas, 24" x 30"
Hotter Than July, 2020, Acrylic on canvas, 24" x 30"
Out of Orbit, 2015-2019, Oil on canvas, 68.5" x 74"
No Sign to Us Earthlings, 2015-2021, Oil on canvas, 72" x 72"
Where the Fruits of the Trees Are Jewels, 2017-2021, Oil on canvas, 72" x 61.5"
Be a good girl. be a bad girl, 2020, Acrylic and ink on canvas, 70x60cm
Spring into Solitude, 2020, Acrylic, paper and ink on canvas, 24"x16"
Beginner, 2020, Oil on canvas, 50" x 55”
Lost and found, 2020, Oil on canvas, 50" x 55”
Untitled, 2018, Oil on canvas, 48" x 40"
Marigold, 2019, Oil on canvas, 50" x 35"
Friendly Indifference, 2020, Oil on panel, 48" x 40"
Online Exhibition #4
The guest curator for the fourth online exhibition is Meredith Rosen
Meredith Rosen is the principal at Meredith Rosen Gallery, NYC. She studied Art History at The George Washington University and received an MA from the Fashion Institute of Technology in Art Market - Principles and Practices. She has worked at Exit Art, was the director at BravinLee programs and founded Sargent's Daughters Gallery on the Lower East Side before starting her own gallery space in 2018. In 2018 she launched her gallery with an exhibition by artist Jennifer Rubell including a pie performance that was performed everyday the exhibition was open.
The following ten artists were selected from the open call by guest curator Meredith Rosen. The artists are Nada Elkalaawy, Lesser Gonzalez Alvarez, Itamar Stamler, Stefan Jeske, Taylor Loftin, Nina Bovasso, Alexandra Smith, Edgar Serrano, Ranee Henderson and Bijijoo
Summer Blues, 2018, Hand-embroidered tapestry on canvas, 22 x 25 cm
Want One?, 2018, Acrylic airbrush on canvas, 50 x 40 cm
Cut In Between, 2019, printed carpet of a 3d scan, 135 x 175 x 2cm
Flame Diptych, 2019, Acrylic on paper, 60" x 62"
Hilt, 2019, Oil, enamel, wood and concrete, 8"x 14"x 3"
die Erde IV, 2019, Acrylic, enamel, wood, found objects, concrete, 12"x 16"
Dummy, can’t you see me? I’m wearing one now, 2018, Oil on canvas, 60” x 48”
It doesn’t matter; I’m not easily set off track, 2018, Oil on canvas, 84” x 48”
Please Don’t Go, 2020, Oil and acrylic on canvas, 36” x 36”
This is a Ghost, 2020, Oil and acrylic on wood panel, 11” x 14”
Best Shoot That Arrow Into the Sky, 2020, Oil and acrylic on canvas, 36“x48”
Me, looking in, 2020, Oil on canvas, 150x115cm
Negotiating With Death, 2020,Oil on canvas, 46”x 60”
Nip Nop Tease, 2020, Oil on muslin, 24” x 16”
Lesser Gonzalez Alvarez
Mask of the other, 2018, Terracotta, ROP utility ties, found stone, 12.5” x 10” x 10”
Gatherings, 2019, Enamel on aluminum panel in custom mahogany frame, 29 ½ x 28 x 1 ¾
Sorting Melancholies, 2020, Enamel on aluminum Panel, “25 x “32
Online Exhibition #3
The guest curator for the third online exhibition is Steve Turner.
Photo by Dimetri Hogan
Background work by Camilo Restrepo
Steve Turner opened his first gallery in Los Angeles in February 1988 and has been in continuous operation ever since. During the gallery’s first fifteen years, the focus was on the rediscovery of overlooked artists and art histories. Artists of particular focus were William H. Johnson, Henrietta Shore, Knud Merrild and Everett Gee Jackson. In 2007, the gallery changed direction to focus primarily on emerging artists and over the last dozen years has presented hundreds of exhibitions, many of which were debut solo exhibitions. The gallery also participates in eight to ten art fairs each year.
Among the artists to have solo exhibitions at Turner’s Wilshire Blvd (2007-2014) and Santa Monica Blvd (2015 to present) galleries are Maria Anwander, Aaron Aujla, Edgardo Aragon, Otto Berchem, Joaquin Boz, Diedrick Brackens, Mark Bradford, Joshua Callaghan, Graham Collins, Petra Cortright, John Dilg, Dominic Dispirito, Noah Doely, Nick Doyle, Zachary Drucker, Hannah Epstein, Rico Gatson, Kate Gilmore, James Gobel, Deborah Grant, Luis Hidalgo, Ann Hirsch, Greg Ito, Parker Ito, Jon Key, Luciana Lamothe, Jonas Lund, Antonio Vega Macotela, Leo Marz, Carlos Martiel, Kevin McNamee-Tweed, RJ Messineo, Claire Milbrath, Adam Miller, Paige Jiyoung Moon, My Barbarian, Maria Nepomuceno, Camilo Ontiveros, Eamon Ore-Giron, Edgar Orlaineta, Hannah Perry, Pope L, Pablo Rasgado, Camilo Restrepo, Ryder Ripps, Francisco Rodriguez, Gabby Rosenberg, George Rouy, Rafael Rozendaal, Shizu Saldamando, Joshua Saunders, Rebecca Shippee, Michael Staniak, Augustus Thompson, Brittany Tucker, Phil Wagner, Ishmael Randall Weeks, Audrey Wollen and Yung Jake.
Turner has done more than one thousand studio visits in recent years. There was a phase where he did one a day in Los Angeles, another where he traveled to Mexico City several times a year to do a week of studio visits. He has traveled to Lima, Buenos Aires, Bogota, and Rio De Janeiro to do visits, and in recent years, he has done many in person studio visits in Berlin and London. He is regularly in New York and he also does numerous Skype visits with artists he has discovered on Instagram. He is always ready to meet a new artist and looks forward to making many new discoveries in 2020.
The Age of Anxiety: Stephanie Boyer, Minyoung Choi, Em Kettner and Nicholas Perry
These four artists create dark figurative works that convey the unknown, terror, fear and anxiety of our time. Boyer’s jeering face; Choi’s figures lost in the dark; Kettner’s sickbed with dislocated body parts and Perry’s mangled face are the stuff of nightmares. As the world reacts to the coronavirus no theme is more relevant than fear.
Succubus Portrait, 2019, oil on wood panel, 10 x 8 x 1 in
The Sickbed, 2020, cotton and wool woven onto glazed Porcelain, 8 x 4 x 3 in
Night Walk 2, 2019, Oil on linen, 30 x 20 cm
Addison, 2019, Oil on canvas, 28 in. x 28 in
Though they do not fit the theme, these other artists must also be commended for their excellent submissions: Tanya Alvarez, Ilsa Brittain, Katja Farin, Nikki Mehle, Sean O’Rourke, Stephen Proski and Michael Villarreal. I also hasten to add that there were many others whose work merits further investigation. If every artist who applied was in the same studio building, I would happily have done thirty studio visits. To all who applied, I say fight on.
Ever-Present, 2020, Acrylic and graphite on panel, 14 x 11x 1.5 in
Self Portrait, 2017, Oil and acrylic textures on panel, 30x40cm
Heavy Handed, 2019, Oil on Canvas, 28 x 31in
Light of Night, 2019, Oil on canvas, 48" x 34"
Hammydown, 2019, Spray paint, latex paint, primer, joint compound, insulation foam on canvas, 58 x 53 x 7.5 in
Youths, 2017, Oil on metal taken from flat complex, 94 x 70 cm
The Killing Game, 2019, Oil on canvas with thread; hand stitching, 46" x 70"
Online Exhibition #2
The guest curator for the second online exhibition is Kurt Beers.
Kurt Beers is Director of Beers London art gallery and author of both 100 Sculptors of Tomorrow (2019) and 100 Painters of Tomorrow (2014). In his capacity as gallery Director since 2012, Beers has worked with emerging and established artists internationally, prioritizing an approach to contemporary art that is both progressive and thought-provoking. Through his work on both books with esteemed British art publishers, Thames & Hudson, Beers has worked to create an international network of artists with the goal of creating a legacy of books and an international fraternity of artists. Through continued collaboration with artists and organizations, Beers continues to spearhead one of the most regarded spaces operating under its first ten years in London. In 2015 and 2016, Beers London was listed in Blouin Media’s ‘500 Best Galleries Worldwide’ and in 2015 Director Kurt Beers was included in ArtLyst’s ‘Alternative Power 100’. Beers holds a Bachelor’s Degree from Carleton University in Ottawa, Canada, and a Master’s Degree from City University in London, England.
Artists selected for the open call are - Aleksandar Todorovic, Anthony Ciarlo, David Heo, Ethan John Stuart, Gabriele Arruzzo, Jon Duff, Karolina Ptaszkowska, Mark Posey, Ralf Kokke, Sean Downey.
The imagined show is called Garbage Pail Kids after the trading cards popular in the 1980s that parodied the Cabbage Patch kids, featuring children with grotesque, comical abnormalities or in crass and compromising situations. The cards, which seem increasingly insensitive in today's politically correct atmosphere, take a no-holds-barred look at humanity, society, and bodily functions. Similarly, the imagined GPK exhibition takes on the irreverent, youthful, overwhelming and often chaotic or crude vibe presented by the 10 artists included. All the artists maintain a sense of 'excess', often emphasising humour and the non-sequitur in favour of a logical narrative. Some, like Anthony Ciarlo, suggest a coprophilia as a means to understand contemporary society; along with the likes of Jonathan Duff and Mark Posey, we begin to see both an aesthetic familiarity but a similar mise-en-scene. Aleksander Todorovic complicates this irreverence with a more politicized but still humorous approach; a refinement also favoured by Sean Downey in his nearly hyperreal paintings. Ethan Stuart and Ralf Kokke take a naive approach, an almost folkloric look inward at real and imagined scenarios. David Heo offers a break from painting with his paper collages featuring screaming animals, ancient vases, and teens locking-lips. Karolina Ptaszkowska presents a noteworthy deviation here, with wooden structures to hold paintings-as-sculptures; and Gabriele Arruzzo's playful, almost ominous takes on Victorian-esque etchings laced with ombres and glitter.
He Played Ball, 2019, egg tempera on wood, 60 x 90 cm
Ethan John Stuart
Bird baths, fountains, hanging plants, plants from other climates, and pamphlets on how to take care of them.
2019, Acrylic on canvas, 24"x30"
Brick Table, 2019, Acrylic, oil, spray paint on panel, 41" x 44"
Lovers, Not Fighters, 2018, Acrylic and soft pastel on canvas stretched over wood panel, 60 x 48
Two Noons, 2019, Oil on panel, 14 x 11
Senza titolo (serenata benaugurante), 2019, enamel, acrylic and glitter on canvas and wooden frame, 187x157cm
Iconostasis of Connectivisim, 2018, Egg tempera and gold leaf on wood board, 70x100cm
Tomorrow Came Last Sunday, 2019, flashe and acrylic on cotton and silk fabric, thread, rope, wood stick, dimensions vary, painting on fabric 225 x 130 cm
Enough is Enough, 2018, crayon, colored pencil, flashe, acrylic and latex paint on canvas, 78 x 69 in
27 Min Shipping, 2019, Acrylic on paper, 47 x 36
Online Exhibition #1
The guest curator for the first online exhibition is Kristin Korolowicz.
Kristin Korolowicz is an independent curator and writer. She has held curatorial and programming positions at the Hirshhorn Museum and Sculpture Garden, the Bass Museum of Art, and the Museum of Contemporary Art Chicago. As the Marjorie Susman Curatorial Fellow at the MCA, she curated solo exhibitions of work by Gaylen Gerber, José Lerma, and Theaster Gates. She recently curated the exhibition "Love the Giver" at The Franklin, which included works by Dutes Miller, Derrick Woods-Morrow, and Elijah Burgher. Her writing will be published in the forthcoming catalog accompanying Manuel Solano’s first US solo show at the Institute of Contemporary Art Miami. Korolowicz received her MA in Curatorial Practice from California College of the Arts.
Austin Furtak-Cole (Brooklyn), Vojtěch Kovařík (Valašské Meziříčí), Catherine Hélie-Harvey (Montréal), and Amadeo Morelos (Chicago) are the four finalists of Top Top’s open call. These emerging artists share a kinship for representational painting that invokes mythological references and personal iconography, while depicting playfully grotesque, nightmarish figures in some uncertain state of transformation.
The selection of works are loosely inspired by the monstrous figure in W.B. Yeats’ foreboding poem “The Second Coming” written in 1919 in the aftermath of the First World War. As we near the year 2020, Yeats’ poem best expresses our Spiritus Mundi, balancing by a toe on the edge of a precipice, an inevitable societal shift. So, what "rough beast" is next?
“The Second Coming” (1919)
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?