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G.G. Derviz, Untitled, 1954

Muscle Definition, July 24 - September 4, 2021

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.

Muscle Definition, July 24 - September 4, 2021

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

G.G. Derviz, Untitled, 1954

Charcoal and white chalk on paper
39 x 28 ½ inches

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Mike Linskie, "A Man for All Positions", 2015 (right)

Mike Linskie, "A Man for All Positions", 2015 (right)

sewn and quilted cotton
76 x 58 inches

(detail)

(detail)

Anthony Iacono, "Hanger", 2017

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

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

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Bernard Gilardi, "We Belong", 1983

Bernard Gilardi, "We Belong", 1983

Acrylic on canvas board
24 x 30 inches

Clifford Owens, "Obligatory Self-Portrait of a Crying Performance Artist", 2016

Clifford Owens, "Obligatory Self-Portrait of a Crying Performance Artist", 2016

Archival inkjet print
11 x 8.5 inches
Edition of 50

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Jennifer Sullivan, Untitled, 2017

Jennifer Sullivan, Untitled, 2017

Watercolor and pencil on paper
15.25 x 11. 25 inches

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Ada Pinkston, "Smile I", 2012

Ada Pinkston, "Smile I", 2012

Total Run Time 3 minutes
Digital Video, edition of 4

Cal Ripken Jr., Signed Photograph, 1980’s

Cal Ripken Jr., Signed Photograph, 1980’s

Gelatin silver print
9.5 x 7.5 inches

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E’wao Kagoshima, Untitled, 1978

E’wao Kagoshima, Untitled, 1978

Pencil and watercolor on paper
10.5 x 13.5 inches

Clarity Haynes, "Robin", 2013

Clarity Haynes, "Robin", 2013

Graphite on paper
7.25 x 8.75 inches

Vlad Smolkin, "Magneto", 1992

Vlad Smolkin, "Magneto", 1992

Pencil on paper
12 x 9 inches

Eric Wesley, "New Realistic Figures (Sleeping): Plato", 2015

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

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Irina Rozovsky, Untitled, (from Mountain Black Heart), 2016

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

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Russian WW1 propaganda cartoon, 1914

Russian WW1 propaganda cartoon, 1914

Chromo-lithograph
23 x 16 inches

Stephanie Barber

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

Engraving of Monkeys, 1778

From Buffon’s “Histoire Naturelle”
8 x 5 inches

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Noi Volkov, "Funny Ride", 2009

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

Melissa Hopson, "Being Myself", 2020

Styrofoam, epoxy resin, wooden shelf
15 ½ x 5 ½ x 5 ½ inches

(detail)

(detail)

Melissa Hopson, "Heartbroken", 2021

Melissa Hopson, "Heartbroken", 2021

Brown bear clay
6 x 6.5 x 3 inches

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Graham Durward, "Sunset and Frost", 2015-2021

Graham Durward, "Sunset and Frost", 2015-2021

Oil and acrylic on canvas
30 x 20 inches

Henry Taylor,  "Pin the tail on the honkey"

Henry Taylor, "Pin the tail on the honkey"

Oil, tape, marker, and artist’s hair on cardboard
6 x 4.25 inches

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Tibetan Medical Thangka Painting, Mid/Late 20th Century

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

Zhong Wen Qiang, Untitled (Acrobat with Vase), 2019

Pencil and watercolor on paper
16.5 x 9.5 inches

Janet Bruhn, "Mower", 2017

Janet Bruhn, "Mower", 2017

Acrylic on Burlap
13.8 x 15.7 inches

Michael Alberstein, "I love you and I eat you", 2015

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

Untitled (banister), 18th Century Italian

ink on paper
11 x 8 inches

Michael Pellew, Untitled (Thanks for Coming to the Party), 2017

Michael Pellew, Untitled (Thanks for Coming to the Party), 2017

Pencil and Marker
5.5 x 8.5 inches