










































Every culture has its version of the ideal body—a place where aesthetics and politics merge and the power of a place can be expressed symbolically. Muscle Definition is a group exhibition that brings together a selection of paintings, sculptures, photographs, and works on paper, that present a spectrum of visions and attitudes about the body and its representation.
Participating artists include: Richard Baker, Stephanie Barber, Janet Bruhn, G.G. Derviz, Graham Durward, Jillian Dy, Bernard Gilardi, Clarity Haynes, Melissa Hopson, Anthony Iacono, E’wao Kagoshima, Mike Linskie, Clifford Owens, Michael Pellew, Ada Pinkston, Genesis P-Orridge, Irina Rozovsky, Vlad Smolkin, Jennifer Sullivan, Henry Taylor, Noi Volkov, Eric Wesley.
There will also be a selection of historical works, including: an engraving from Buffon’s “Histoire Naturelle” (1778), an 18th Century Italian ink drawing, a Russian chromo-lithographic war cartoon (1914), a Tibetan Medical Thangka painting (mid 20th c), and a signed gelatin silver print of Cal Ripken Jr. (1980’s).
Muscles are elastic string-like fibers, holding the body together. To build muscles, we tear them with purpose so the strings grow back bigger and stronger. It takes around 43 muscles to smile and 17 muscles to cry. Some muscles can be seen from a distance, while others are subtle and hidden.
The impulse for this exhibition arrived when the world went into lockdown at the beginning of the pandemic. Over this period of isolation, there has been a strong sense both of our innate need for contact, and the capacity of government to control and manage that need. As this mass loneliness thaws, bodies become powerful magnets for other bodies and there is acuteness to how we embrace and interact with each other.
The heart’s muscles circulate blood through the body with pristine regularity. As we slowly step back into the public sphere, perhaps a greater awareness and embrace of our natural rhythms can inspire a new and healthier relationship to the body, and in the ways we represent and impose power on and through the body.
Every culture has its version of the ideal body—a place where aesthetics and politics merge and the power of a place can be expressed symbolically. Muscle Definition is a group exhibition that brings together a selection of paintings, sculptures, photographs, and works on paper, that present a spectrum of visions and attitudes about the body and its representation.
Participating artists include: Richard Baker, Stephanie Barber, Janet Bruhn, G.G. Derviz, Graham Durward, Jillian Dy, Bernard Gilardi, Clarity Haynes, Melissa Hopson, Anthony Iacono, E’wao Kagoshima, Mike Linskie, Clifford Owens, Michael Pellew, Ada Pinkston, Genesis P-Orridge, Irina Rozovsky, Vlad Smolkin, Jennifer Sullivan, Henry Taylor, Noi Volkov, Eric Wesley.
There will also be a selection of historical works, including: an engraving from Buffon’s “Histoire Naturelle” (1778), an 18th Century Italian ink drawing, a Russian chromo-lithographic war cartoon (1914), a Tibetan Medical Thangka painting (mid 20th c), and a signed gelatin silver print of Cal Ripken Jr. (1980’s).
Muscles are elastic string-like fibers, holding the body together. To build muscles, we tear them with purpose so the strings grow back bigger and stronger. It takes around 43 muscles to smile and 17 muscles to cry. Some muscles can be seen from a distance, while others are subtle and hidden.
The impulse for this exhibition arrived when the world went into lockdown at the beginning of the pandemic. Over this period of isolation, there has been a strong sense both of our innate need for contact, and the capacity of government to control and manage that need. As this mass loneliness thaws, bodies become powerful magnets for other bodies and there is acuteness to how we embrace and interact with each other.
The heart’s muscles circulate blood through the body with pristine regularity. As we slowly step back into the public sphere, perhaps a greater awareness and embrace of our natural rhythms can inspire a new and healthier relationship to the body, and in the ways we represent and impose power on and through the body.
G.G. Derviz, Untitled, 1954
Charcoal and white chalk on paper
39 x 28 ½ inches
Mike Linskie, "A Man for All Positions", 2015 (right)
sewn and quilted cotton
76 x 58 inches
(detail)
Anthony Iacono, "Hanger", 2017
Acrylic on cut and collaged paper
24 x 18 inches
Genesis P-Orridge, "Our Aim is Wakefulness (See A Cliff/Jump Off/Our Enemy is Dreamless Sleep)", 2018
Polaroid mounted on mat board with stamped ink
10 x 8 inches
Bernard Gilardi, "We Belong", 1983
Acrylic on canvas board
24 x 30 inches
Clifford Owens, "Obligatory Self-Portrait of a Crying Performance Artist", 2016
Archival inkjet print
11 x 8.5 inches
Edition of 50
Jennifer Sullivan, Untitled, 2017
Watercolor and pencil on paper
15.25 x 11. 25 inches
Ada Pinkston, "Smile I", 2012
Total Run Time 3 minutes
Digital Video, edition of 4
Cal Ripken Jr., Signed Photograph, 1980’s
Gelatin silver print
9.5 x 7.5 inches
E’wao Kagoshima, Untitled, 1978
Pencil and watercolor on paper
10.5 x 13.5 inches
Clarity Haynes, "Robin", 2013
Graphite on paper
7.25 x 8.75 inches
Vlad Smolkin, "Magneto", 1992
Pencil on paper
12 x 9 inches
Eric Wesley, "New Realistic Figures (Sleeping): Plato", 2015
Faux marble and bronze on stained maple pedestal Figure: 3.75 x 9 x 16 inches
Pedestal: 56 x 11.5 x 11.5 inches
Irina Rozovsky, Untitled, (from Mountain Black Heart), 2016
Archival pigment print
24 x 17.6 inches (61 cm x 44.7 cm)
Edition of 15 + 2AP
Russian WW1 propaganda cartoon, 1914
Chromo-lithograph
23 x 16 inches
Stephanie Barber
“suck it, winsome unguent, there’s hope and hell in both directions. misdirection as evidence of dedication. because you, with your declarations proud and wayward, dedicate fastidious. both and neither. both and neither. both and neither muscle through the grass”, 2021
Glazed Ceramics, wooden shelf, cut plastic
62 x 26 x 9 inches
Engraving of Monkeys, 1778
From Buffon’s “Histoire Naturelle”
8 x 5 inches
Noi Volkov, "Funny Ride", 2009
Found object, glazes and oil on earthenware
Figure: 17 x 14 x 8 inches
Pedestal: 26 x 10 x 8.75 inches
Melissa Hopson, "Being Myself", 2020
Styrofoam, epoxy resin, wooden shelf
15 ½ x 5 ½ x 5 ½ inches
(detail)
Melissa Hopson, "Heartbroken", 2021
Brown bear clay
6 x 6.5 x 3 inches
Graham Durward, "Sunset and Frost", 2015-2021
Oil and acrylic on canvas
30 x 20 inches
Henry Taylor, "Pin the tail on the honkey"
Oil, tape, marker, and artist’s hair on cardboard
6 x 4.25 inches
Tibetan Medical Thangka Painting, Mid/Late 20th Century
Opaque paint on paper
17.5 x 14.4 inches
Zhong Wen Qiang, Untitled (Acrobat with Vase), 2019
Pencil and watercolor on paper
16.5 x 9.5 inches
Janet Bruhn, "Mower", 2017
Acrylic on Burlap
13.8 x 15.7 inches
Michael Alberstein, "I love you and I eat you", 2015
Colored pencil on paper
8.75 x 11. 75 inches
Untitled (banister), 18th Century Italian
ink on paper
11 x 8 inches
Michael Pellew, Untitled (Thanks for Coming to the Party), 2017
Pencil and Marker
5.5 x 8.5 inches