Happy/Sad walkman, kinetic sculpture, 2007 on view in Re-Master
Please join me for the opening Re-Master a group exhibition at Frosch&Co gallery this Thursday 07/28 from 6 to 8pm.
FROSCH&CO
34 E Broadway
New York, NY 10002
On view 07/28 – 08/27
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Summer 2022
Public Art:
“Howard Houses Drawing Dialogue” presented by ArtBridge
on view at 290 Mother Gaston Blvd Brooklyn, NY
Exploring human nature and attitudes, “Howard Houses Drawing Dialogue” playfully intersperses Verdoux’s drawings with portraits made by resident youth. Incorporating ink portraits created during her workshops held at the Howard Houses, the artwork reflects the creativity of Howard’s youngest residents.
This exhibition was produced by ArtBridge, in partnership with the Howard Houses Resident Association and NYCHA. The program is made possible by the New York City Artist Corps and the #CityCanvas pilot program — initiatives of the NYC Department of Cultural Affairs (@nyculture) and the Mayor’s Office (@nycmayorsoffice) #cityartistscorps #publicart#nycpublicart#howardhousesdrawingdialogue
Site Photos @rathkopfphotography
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Future Fair | Frosch&Co Gallery
Frosch&Co Gallery present a duo exhibition by Portland, OR based artist Eva Lake and Brooklyn based French artist Jeanne Verdoux.
Visit us at booth #U1.
FUTURE FAIR
Chelsea Industrial | 535 W 28th Street | NY
Public Days
Thursday, May 5, 12-7PM
Friday, May 6, 12-7PM
Saturday, May 7, 12-6PM
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The revival of Ceramic art in the world of fine arts is releasing the medium clay from its traditional functional imperative, and redefining the ancient art form in new ways. Clay has become a medium of sculptural expression, with remarkable breadth and approaches, telling stories, and depicting popular culture. Blending art design and also function with traditional, modern and experimental techniques. Here we share a selection of 12 artists we discovered during our open call on Instagram.
Read Article
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Exhibition: Home Sweet
FROSCH&CO is pleased to present Home Sweet, a group exhibition featuring artists Leslie Kerby, Julia Kuhl, Heather Morgan, Patricia Satterlee, and Jeanne Verdoux.
Home Sweet explores the symbiosis between our interiorities and the spaces we call home as nexus points of human belonging, complicating the private/public line that has traditionally demarcated the frontiers of spaces of femininity and fostered division rather than community. Bringing together drawing, painting, and ceramics by all women artists, this group exhibition addresses domesticity by transforming the private sphere into a public forum for emotional and creative exchange.
Featured artists include Leslie Kerby, whose interior scenes reinterpret her friends’ photographs of places in their homes in which they take solace. Kerby’s series translates these “happy places” into watercolor, acrylic, and mixed media collage drawings on semi-translucent vellum, opening new possibilities for exchange within separation. Responding to interior themes in a much larger format is artist Jeanne Verdoux; her ceramics and drawings on mattress paper explore the female form as a vessel for interior life experiences through domestic materials.
In her recent Enough PIE for Everyone! Series, Patricia Satterlee works with the common everyday fabric cotton. Her square paintings depicting in slices divided circular shapes evoke symbols of plentitude as antidotes to human division. Inspired by interplays of Buddhist iconography, her ruminations on abundance combat the rhetorics of scarcity that fuel the frenzy of fear that has overtaken American political discourse. Meanwhile, Munich based Julia Kuhl’s Domestic Textile Series employs the language of women’s craft arts to question the essentialized roles women are expected to perform in both traditional and contemporary societal contexts. Finally, Heather Morgan’s still life paintings provoke the gaze of the onlooker, making palpable the intimacy and vulnerability of the domestic sphere.
Our homes reflect the richness of our innermost realities, yet they are also fortresses where we retreat from outside. Home is where we are truly alone, yet it is also full of loved ones, both past and present, and the memories that shape who we are as people.Home Sweet explores the permeability of the four walls separating inner and outer, private and public, and personal and collective experience.
On view December 9, 2021 – January 16, 2022
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Curated by Vernita Nemec
I’m excited to be part of this online exhibition presented by @sculptors.alliance.
“In these times, our environment is in danger more than ever and we must do all we can to save it from further destruction. The evidence suggests that early art was created by artist/shamans who protected the hunt and blessed the harvest. The power of art continues to exist in our contemporary time, a world of machines and cybernetics, and this power continues to be available for us to implement it. Creating from the discarded materials as an alternative, however, is crucial — and the most responsible decision, to extend the use of materials and reduce the abuse of materials that require the destruction of the environment.”
Virtual Exhibition: April 15, 2021 – May 30, 2021
www.sculptorsalliance.org/exhibitions-archive/up-cycling-detritus
Panel Discussion: May 07, 2021 @ 7:00 PM (Email RSVP@sculptorsalliance.org to attend)
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Drawing the Cover of New York Magazine : Reasons We’ve Loved New York
I illustrated New York Magazine’s 16th annual “Reasons to Love New York” issue, a tribute to all the places that have closed this year since the pandemic began.
“The cover features illustrations from French visual artist Jeanne Verdoux, who has lived in New York City for 20 years. “It is shocking to see places I went to are disappearing. To me they ARE New York,” says Verdoux. Many of the businesses captured in her drawings are places Verdoux herself is mourning. Places like B Bar, Century 21, Carroll Gardens Diner, and Jeffrey New York, among others. Using an ink brush, Verdoux captured 38 businesses in one week for the purposes of this cover. “I went inside a drawing tunnel with my ink brush and became a drawing machine,” she says of her process. “The drawings are a gestural expression of what I see. Very spontaneous. Little to no edits to the first impression.”
December 2020
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