Ada Gallery, Richmond
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DESIGN: WWW.HAUSER-SCHWARZ.CH THU – SUN 6TH – 9TH MARCH 2014 / 82MERCER, NEW YORK / NY 10 012 RYAN BROWNING ADA GALLERY, RICHMOND VOLTA NY 2014 | BOOTH NUMBER 2.32 ADA GALLERY: RYAN BROWNING WEBSITE Ryan Browning is a painter and interdisciplinary artist whose art practice revolves www.adagallery.com around traditional concepts of space, new perceptual experiences such as video E-MAIL games and simulated virtual worlds, and the role images play in the construction [email protected] of memory. PHONE Magical, mysterious landscapes with elaborate cities carved into mountainsides, +1 804 644 0100 dark caves, and floating worlds are the locations and the characters in Brownings CELL work. Miró-esque sculptures, rainbow colored ladders, oriental rugs, and bonfires +1 804 301 1550 speckle the shadowy creases and plateaus that inhabit these fantastical worlds in- CONTACT NAME viting the viewer to explore. John Pollard Regarding the ideas employed within his works, Browning states: “I like games- playing them and designing scenarios and settings in which games of fantasy can REPRESENTED ARTISTS take place. I’ve been playing role-playing games like Dungeons and Dragons since Jared Clark I was a kid, and since I started painting, I began to realize that painting and role Michelle Forsyth playing in such games are similar. In a game you imagine layers of surface and sub- Shannon Wright Jakob Boeskov stance on a framework of governing rules. You give names to things that are oth- Daniel Davidson erwise represented by abstract data or systems, and you carve your way into that Kirsten Kindler world by exploring and making changes to it. The rules allow the changes, but you Derek Larson imagine how those changes effect the unfolding of the game’s narrative, like the Brian Novatny Jimmy Trotter grave finality of the ‘death’ of the King in a game of chess. Painting is kind of the Bruce Wilhelm same. You get to know the territory. Once it becomes familiar, you begin to inhabit it, tell yourself stories about it.” Browning earned a BA from Brigham Young University, Provo, UT, and an MFA from COVER Ryan Browning the Mount Royal School of Art at MICA in Baltimore, MD. His work has been exhib- Stuff Heaven ited throughout the United States, most recently a solo exhibit at Mulherin + Pollard 2014 in New York City (2014), and at UNTITLED Miami with ADA Gallery (2013); and solo Gouache and watercolor on paper and group shows at the Creative Alliance (2012) and School 33 Art Center (2011) 49.5 × 36 in in Baltimore, MD. His work has been featured in print in New American Paintings INSIDE (2011, 2013), and he has participated in residencies at St. Mary’s College of Mary- Ryan Browning land (2011) and Harold Arts, OH (2010). He currently teaches at Virginia Common- Time Passes On The Minor Planes 2012 wealth University Qatar, in Doha, Qatar. Gouache, watercolor, and tea on paper in frames 27.5 × 132 in BACK (LEFT) Ryan Browning Secret Habitat 2013 Gouache, watercolor on paper 16 × 12.5 in BACK (RIGHT) Ryan Browning Character Death 2 2013 Gouache and ink on paper 12 × 10 in KIM DORLAND ANGELL GALLERY, TORONTO VOLTA NY 2014 | BOOTH NUMBER 2.45 ANGELL GALLERY: KIM DORLAND WEBSITE Working against the notion that painting is (once again) ‘dead,’ or that representa- www.angellgallery.com tional painting is ‘over,’ Toronto-based painter, Kim Dorland, is among those who E-MAIL remains devoted to the painted surface. A self-proclaimed painting ‘addict,’ Dor- [email protected] land’s practice is rooted in a desire to create a dialogue with his viewers and within PHONE the broader discourse of painting itself — its possibilities, its subtleties, its overt +1 416 530 0444 material beauty, its problematic history. Dorland’s paintings are at once referential, CELL material, psychological, beautiful and uncomfortable, resulting in a body of work that +1 647 221 5697 is seemingly disparate but undeniably connected through his idiosyncratic — and CONTACT NAMES maximal — use of paint in all its forms (oil, acrylic, spray, airbrush…). Jamie Angell Dorland’s preferred subjects are a moving target. The image of the primal forest Joey Chiu Emma Clough remains consistent in Dorland’s work, as does portraiture of his wife, but a daring color scheme and a magnetic visual language render these ‘conservative’ genres at once contemporary and relevant. REPRESENTED ARTISTS As a fan of painting, Dorland regularly — and deliberately — acknowledges his in- Thrush Holmes Steve Driscoll fluences — whether historic or current, serious or camp. “I think a connection to Daniel Hutchinson history and influences makes painting interesting,” he says. “I would be bored — Jakub Dolejs and I think the viewer would be too — if I followed and adhered just to what paint- Bradley Harms ing ‘is’ right now.” Rafael Ochoa Vessna Perunovich Dorland currently lives and works in Toronto. He attended Emily Carr University of Tim Roda Art + Design in Vancouver and received his Masters from York University in Toronto. Jason Gringler Derek Mainella He has headlined exhibitions in New York, Milan, Chicago, Los Angeles and Toron- to, among other cities. His work has been featured and reviewed in The New York Times, The Los Angeles Times, Modern Painters, Canadian Art Magazine and, most COVER recently, The Globe and Mail, Toronto Star and Maclean’s magazine. Kim Dorland Bay Blanket (detail) Dorland’s work is featured in prominent public and private collections including the 2014 Museum of Contemporary Art San Diego, the Musée d’art Contemporain de Mon- Oil and Acrylic on linen over wood tréal, the Blanton Museum of Art at The University of Texas, the Glenbow Museum panel in Calgary, the Montreal Museum of Fine Arts, The Oppenheimer Collection at the 20 × 16 in Nerman Museum of Contemporary Art, the Beth Rudin DeWoody Collection, the INSIDE Neumann Family Collection, the Richard Massey Foundation, the Royal Bank of Kim Dorland Sleepwalker #4 Canada and the Sander Collection in Berlin. 2014 Oil and acrylic on jute over wood panel 72 × 96 in BACK Kim Dorland Bedroom #3 2014 Oil and acrylic on jute 72 × 96 in IRIT BATSRY AUT AUT ARTE CONTEMPORANEA, RIO DE JANEIRO VOLTA NY 2014 | BOOTH NUMBER 2.43 AUT AUT ARTE CONTEMPORANEA: IRIT BATSRY WEBSITE Irit Batsry’s work in installations, video and photography has been exhibited in 35 http://autaut.com.br/ different countries and is part of the collections of MoMA in New York, the Israel E-MAIL Museum, and the Whitney Museum of American Art. [email protected] She was awarded the Whitney Biennial Bucksbaum Award in 2002, the Guggenheim PHONE Foundation Fellowship in 1992, the Grand Prix Video de Création of the Société +55 21 982677069 Civile des Auteurs Multimedia in 1996 and in 2001, and the New York Foundation CONTACT NAME for the Arts fellowship in 2002, as well as many International festivals prizes. Her Marcos Dana work was shown at the National Gallery in Washington, the National Film Theater in London, the Reina Sofia Museum in Madrid, and the Museu d’Arte Moderna in Rio among others. In 2006 the Jeu de Paume in Paris organized a retrospective of her REPRESENTED ARTISTS Roger Ballen video work. Irit Batsry was born In Israel in 1957, since 1983 she lives and works Alessandra Bergamaschi in New York and elsewhere. Charif BenHelima Mauro Espíndola Images in this brochure are from Of Sets, an ongoing series created from material Pablo Ferretti shot by the artist on the film sets of director Karim Ainouz in Brazil. Initiated with Zé Carlos Garcia Set, a video installation shown at the Whitney Museum of American Art in 2003, the Anna Bella Geiger series includes The Yellow Line, 2006 and 2012, Through the Looking, 2007 and Armando Queiroz Screen, shown at aut aut arte contemporanea in 2013. aut aut arte contemporanea presents innovative contemporary art produced both COVER in and outside of Brazil. Inaugurated in 2009, our gallery focuses on emerging and Irit Batsry mid-career artists working in different media: photography, painting, installation, From the series Phantom Set 2011 and video. Artists represented by aut aut arte contemporanea have been showing Photographs of ephemeral video nationally and internationally. To view some works by our artists please don’t hesi- installations tate to contact us. Dimensions variable In order to reach a wider group of collectors, we are interested in collaborating with INSIDE Irit Batsry art fairs both in Brazil and abroad, offering our expertise and, possibly, space for Irit Batsry: Set, Whitney Museum of future joint exhibitions. Our gallery is located in a charming neighborhood near the American Art, instlalation view Botanical Garden in Rio de Janeiro. 2003 Digital video projection on existing architecture, color, silent: 2:13 min., looped Dimensions variable BACK Irit Batsry Care (from Set) 2001 (year photographed) 2007 (year printed) Digital lambda print on Fujiflex face mounted to Plexiglas 100 × 100 cm SYLVIA MARSTERS BCA GALLERY, RAROTONGA VOLTA NY 2014 | BOOTH NUMBER 2.26 BCA GALLERY: SYLVIA MARSTERS WEBSITE NEW YORKERS DON’T SEE FLOWERS www.gallerybca.com ORIGINAL PAINTINGS + VOLTA ED. SILKSCREEN PRINT E-MAIL “When you take a flower in your hand and really look at it, it’s your world for the [email protected] moment. I want to give that world to someone else. Most people in the city rush PHONE around so, they have no time to look at a flower. I want them to see it whether they +682 21939 want to or not.” — Georgia O’Keefe / New York Post Interview, 1946 CELL +682 55012 BCA Gallery proudly presents a Sylvia Marsters project for VOLTA NY 2014, New Yorkers Don’t See Flowers.