February 10- March 5, 2017
Opening Friday February 10th, 6-10pm
Gallery Talk with Artists on Saturday February 11th, 4pm
Please join us!
Rooms 1 & 2:
Kevin Baer, Curator
I’m Your Cannibal
Brooke Pickett, John Isiah Walton, Jonathan Traviesa, Vanessa Centeno, Robyn LeRoy-Evans,
Jamie Solock, Lee Deigaard, Alex Podesta, Patch Somerville, Cristina Molina, Madeleine Wieand,
Patrick Coll, Kelly Mueller, Kevin Baer, Ryn Wilson, Cynthia Scott and Jessie Vogel
The concept behind the group exhibition I’m Your Cannibal is one of discourse and response. Participating Front member artists were paired up with a fellow member and asked to create a new artwork in the style of the other artist.
The parameters were wide open. Artists were encouraged to embody the other artist very directly or perhaps take more subtle cues from certain reoccurring imagery or ideas.
The title speaks to the artistic attempt to take on the essence of another - to consume them - to climb into another’s skin and walk around a bit.
At the heart of the project is a desire to act as a catalyst for peer interaction. I believe the exhibition is also a response to larger questions about authorship, artistic personalities and creative tendencies. Art making is often described as a very personal act, perhaps it can also be an interpersonal act.
Kevin Baer was born in Denver, Colorado to an architect father and sculptor mother.
He attended college in California, earning his bachelor's degree from Santa Clara University.
Graduate study brought him to Louisiana where he achieved his MFA at the University of New Orleans.
The artist currently lives, teaches and makes artwork in New Orleans with his girlfriend and his large cat.
When We Were Boys
John Isiah Walton
"When We Were Boys" is a follow up show to "Grown Ass Kids" (2014) which dealt with grown ups that still have a child's mentality. "When We Were Boys" talks about the brotherhood and the imagination of what reality was for the artist growing up in their time.
Jason Childers, If Only, Just a Dream, 2017.
Featuring artworks by:
Nicole Jean Hill
One-of-a-kind flavor highlighting gross, lush, abject, and sublime artworks. They drip sweat and bleed snot. In these landscapes of heroines, the wild and the possibly tamed coexist with vibrant life. Each should be approached with care, they are definitely looking back from a territory of might.
Caitlin Goebel, Sip, from Missing The Point, Ink, correction fluid, and acrylic on archival print of found image. 40 inches by 88 inches. 2017.
The act of drawing can form a matrix; within drawing there is both inception and destruction. My Missing The Point series of work emphasizes drawing as a means to edit, censor, alter, vandalize, subvert and expose. The works in this series are not meant as dogmatic statements, but rather as entrées for magical thinking and critical discourse.
Caitlin Goebel was born in 1989 in Long Beach, California. Her over-the-top, Kitsch-inspired work explores capitalism and consumption, simulacra and simulation, meta-reality and reality, magic and manipulation, and intimacy and wonder. Utilizing fluorescent, metallic, glowing, and glittering materials, She creates paintings and collages both inspired by and composed of 20th and 21st Century ephemera such as disposable tablecloths, fast-food advertisements, and pornography.
Goebel’s work has been featured nationally in group exhibitions, including Gone Soft at Pehrspace in Los Angeles (2016) and Bright Young Things at The Gallery of Contemporary Art in Colorado Springs (2015). Her solo exhibitions include Missing the Point at AHA Gallery in Colorado Springs (2016), Correcting/ed Objects at the Heller Center for the Arts and Humanities at University of Colorado Colorado Springs (2015), and Horror Vacui at The Modbo in Colorado Springs (2013). She is currently pursuing a bachelor’s of arts degree in Visual and Performing Art with a triple emphasis in Visual Arts, Art History, and Gallery Management at the University of Colorado Colorado Springs.
Nicole Jean Hill, The Australian, Archival Pigment Print, 18" x 24", 2015.
Nicole Jean Hill
Functioning as an American rite of passage, amateur boxing and mixed martial arts cage fighting contain both messy, bodily chaos and ceremonial pageantry. I photograph the people and rituals involved in these public showdowns and explore both the archetypal and divergent images of masculinity in and outside of the ring.
Nicole Jean Hill received a BFA in photography from the Nova Scotia College of Art and Design and an MFA in Studio Art from the University of North Carolina at Chapel Hill. Her photographs have been exhibited throughout the U.S., Europe, Canada and Australia, including Gallery 44 in Toronto, the Australia Centre for Photography in Sydney, and the Blue Sky Gallery in Portland, Oregon. She currently resides in Humboldt County, California and is a Professor of Art at Humboldt State University.
Carolyn Hopkins, Cascade, Taxidermy forms, kiln fused glass, over-dyed fabric, wood, flocking, 2012.
Carolyn Hopkins graduated with an MFA in Sculpture from the Cranbrook Academy of Art and a BFA in Interdisciplinary Arts from the Kansas City Art Institute. Her work questions the traditional cultural roles of the feminine and masculine as well as the tamed and untamed and creates outposts from which to re-examine a recognizable terrain. Carolyn has collaborated with Mark Dion and Spurse, and has been an Artist in Residence at the Museum of Arts and Design in NYC, the Vermont Studio Center, Caldera, Brush Creek, Mildred’s Lane, and Leland Ironworks. Her work has been exhibited both nationally and internationally. Carolyn lives and works in Portland, Oregon on her half acre urban farm and studio.
Rebecca Krupke, Crimson Opulence, oil on canvas, 24x30”, 2013.
Catching subtle splendor in the ornate or even common household objects. The way light bounces off of light or the way the shadows dance across a blank wall give me to want. Wanting to encapsulate the beauty and richness of what I've seen. Wanting someone else to notice something often considered simple..a corner, a wall, a shadow, can be so beautiful you want to lick it to taste just how real the space is.
Born and raised in Maine, Rebecca Krupke is a seventh generation 'Mainer'. Rebecca's memories are filled with images of playing in her grandparents' attic. She spent many days amongst unfinished canvases of her grandfather, Edward Bailey, who studied art at the Portland School of Art. Seeing the joy on her grandfather's face as he spoke of his days painting in art school planted a seed in Rebecca's heart to carry on where he left off. Each artwork she creates embodies a feeling of rebirth in content and emotion for the subtle, sometimes overseen, moments in life.
Rebecca has shown in over twenty International and National Juried Exhibitions throughout the United States, Canada, Ireland and Italy. Rebecca's artwork has been published in Maine Home + Design Magazine, 'Words & Images', a book of artwork and poetry published in Portland, Maine and 'The Buzz', Prince Edward Island's Arts and Entertainment magazine as well as numerous juried exhibition catalogues.
Jenny LeBlanc builds forms that marry a physical object with an event, performance, moment, or activity to document her personal experience in a tangible way. Her sculptures usually take the form of common objects that people very ordinarily encounter. For more information on her work, please visit www.hotironpress.com/jennyleblanc.htm
Born in Marrero, LA, Jenny LeBlanc makes work where performance, drawing, printmaking, and sculpture converge. With frequent collaborator Kyle Bravo, she has run the art studio Hot Iron Press since 2002, and currently teaches sculpture at the New Orleans Center for Creative Arts (NOCCA). She was a founding member of The Front, and has exhibited work throughout the US and also in Canada, Italy, and Japan. She holds degrees from the Alabama School of Fine Arts, Louisiana State University (BFA in sculpture), and Virginia Commonwealth University (MFA in sculpture).
Sophie Neslund, Ashley, Porcelain, luster, 6x6x12”, 2015.
Contemporary advertising and popular media have saturated our image of the human body as a hyper-curated, idealized experience. Now the natural body has become alien – gross and hyperbolic – something in constant need of editing. Do the bulges, puckers, and rolls of these ceramic vessels make them less delicate and feminine? My work is focused on the intersection of consumption, femininity, and regulation of the body and how those manifest within the public sphere. I confront the viewer with luscious and unabashed depictions of fatness in a sophisticated, fun, and inviting environment as an antithesis to popular media’s narrative of fatness as a morbid disease. My work engages with taboo and transgression by unapologetically displaying fat bodies, but uses humor to address these topics in a way that is accessible to those unfamiliar with the discourse. My work acts to assert that fatness and femininity are not mutually exclusive concepts, and that fat is not a thing to be ashamed of.
Sophie Neslund is a cat enthusiast and maker of things, in that order. In 2014 she earned her Bachelor’s of Fine Arts in Ceramics at the New York State College of Ceramics at Alfred University. Shortly after, Sophie received her Master’s of Fine Arts at the University of Cincinnati in 2016, where she was both Instructor of Record and Studio Technician. Sophie has shown at the Contemporary Arts Center in Cincinnati, Ohio, The Sculpture Center in Cleveland, Ohio, and was a recipient of the International Sculpture Center’s 2016 Outstanding Student Achievement in Contemporary Sculpture Awards, currently on exhibition at Grounds for Sculpture in Hamilton, New Jersey. In her very limited spare time, Sophie enjoys watching true crime documentaries with her geriatric cat.