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Reception Friday June 3, 6 - 8pm
Exhibition June 3 - 25, 2016
Join us for a Man Show artist talk with a few of the exhibiting artist on Saturday June 4 from 11am - 1pm at L | Ross gallery.
L | Ross Gallery
5040 Sanderlin Ave. Suite 104
Memphis, TN 38117 901.767.2200
Timothy Andrews . Eli Gold . Jan Hankins . Jed Jackson . Chuck Johnson Richard Lou . Terry Lynn . Kevin Mitchell . Jason Miller . Carl E. Moore
Tom Murray . Nick Pena`. Michael Stanley . Mathew Thomas.
Carl E. Moore
Definition of Man:
An individual human; especially : an adult male human: humankind: a bipedal primate mammal (Homo sapiens) that is anatomically related to the great apes but distinguished especially by notable development of the brain with a resultant capacity for articulate speech and abstract reasoning, is usually considered to form a variable number of freely interbreeding races, and is the sole living representative of the hominid family: one possessing in high degree the qualities considered distinctive of manhood.
The quality or state of being manly : manliness.
The Man Show explores the viewpoints, conceptual ideas and images from artist with various backgrounds, cultures, experiences and ideologies.
The show investigates attitudes, stereotypes and expectations of the definition of Manhood in the last 50 years. "The Man Show" examines the role of the male figure in today's society as changes take place in the family social structure, the workplace, politics, gender roles and belief systems in our everyday life.
Cultural attitudes due to immigration, the increase in single parent households and the debate of equal pay, for women and minorities have questioned the meaning of fairness in a male dominant society. This also extends to the incarceration and homicide rate among minority groups and the acceptance of alternative lifestyles that have created households headed primarily by either a male only or female only parent structure.
The Man Show Artist:
My work has for years been focused on self-portraits and how I have represented myself through the journey of my life.
As a genre of painting i feel self-representation stretches back in time encompassing many contemporaries as well as old masters and arguably to the cave walls of early man. The first were almost certainly painting themselves with the tribe as they prepared and carried out the hunt. Even the simple gesture of a hand print on a cave wall is the artist way of portraying the self.
These self-portraits are about identity, both mine as I view myself, and the way I perceive being viewed by others. All of these works in one way or another are about the personal and societal ramifications of my reality of having lived with chronic illness for 54 years as a person with hemophilia and having lived thirty plus years with HIV and hep C.
My work begins when I discover an intriguing ready-made object.
I then combine it with human characteristics and forged metal objects to create a symmetric biomechanical narrative. I use the human face so the viewer can have a more personal experience with the sculpture. I cannot escape the mechanical aspect of the body. In my work I express the relationship of soul and machine working as one.
My work emerges from metal and imagination to generate a surreal biomechanical specimen. I evaluate and observe the complexity and compatibility of objects working simultaneously to achieve a sense of frozen motion or an over all loud silence.
The painting, Cosmic Cycle, began as a humorous examination of my thinking process in the love arena.
Is it Jan or Little Jan guiding the process? My dad died toward the end of painting this (painting in the show). It became more of an exploration of mortality. What happens to all that energy we expend trying to be a man?
The older I get the more I see my dad in myself. I couldn't forget the expression on his face when he died. So I painted it.
As a painter using opaque watercolor as a medium I have striven to use gouache as a layering technique to create dense images often based on historical poster designs.
The heyday of the poster as persuasive propaganda belongs to the period before the development of television. War posters encouraging rationing, thrift, investment and endurance were instrumental in the pre-television eras’ appeals to unified mass action.
My gouache paintings originate in a phrase or idea presently finding currency in the mass media, either print or electronic, and through drawing is translated into a design linking image and text to create an often biting or humorous commentary. The paint is applied exploiting the marvelous opacity of the medium thereby facilitating hatching, layering and strong flat color juxtapositions.
My work has always been inspired by nature: organic forms, cycles, seasons, land, water, sky, order, rhythm, repetition, growth, regeneration.
These works reside somewhere between realism and abstraction. Highly organic, every story reveals a complex conversation among the elements. Individual lines, marks, drips, shapes and color do not simply exist alongside one another, but fuse together as a single pulsating force.
Through the process of adding, wiping away or painting out, I try to create organic forms and structures that seem to be in the state of transformation and tension, evoking my own interest in realities of Physiology and Biology.
“Art is one of the most sacred ways to communicate.”
Consuelo Jimenez Underwood
The work that I create as a Chicano artist emanates and is in response to the love I have for my family. The work embraces the contradictions, the conflicts and triumphs, the quiet and raucous moments of a routine day, the flowering, the decaying, the markings and ceremonies that compose a lifetime all within a society that subjugates. At the core, all work I do is for them. And in that hopeful light, I am willing to take the chance that the power of the work will ultimately save my children who will become the inhabitants of a New Nepantla as they negotiate a home in this destabilized world.
Growing up in a tight-knit family it was only natural that relatives told stories to the brothers about growing up in rural communities across the Southeastern US.
Those memories and reflections have become the brothers' visual vocabulary. Their historically narrative paintings depict an unidentifiable time period in black family life: fields, churches, blues music and family gatherings.
Through choice of colors, urban marks that might be symbolic of hip hop or graffiti, and collaged items – be it cotton bolls, twill ticking, newspaper clippings or glitter -- the two take historic imagery and jolt it into the current century collaboratively and individually.
Jason Nicholas Miller, also known as soulrecorder, works in imagery ranging from photography to painted murals, intimate sculptures, personal audio recordings, and curatorial endeavors.
Miller began his art practice in 1998–Memphis, TN has been home to both his studio practices and curatorial projects. Miller received his Master's of Fine Art from The University of Memphis in 2010 and has taught art foundations and digital art since 2007 at the University of Memphis where he also serves The Art Museum of the University of Memphis.
Miller curates the Circuitous Succession Series, which has expanded between 2013 thru the present to include a commercial gallery of the same name and survey annual exhibitions including Circuitous Succession Epilogue.
My studio practice over the last several years has been focused conceptually on the language of masculinity in our culture.
Icons of masculinity, such as a football player, a policeman, the Marlboro man, a truck driver, and characters in action movies and television shows, have defined our views of masculinity. My work uses these immediately recognizable and historically established icons as universal representations of masculinity, but doubt is inserted into each icon through a combination of imagery, symbols, and text.
These perceived masculine contradictions, where established identities are disputed by innuendo, form the foundation of my work.
Carl E. Moore
I was born 1965 in Canton, Mississippi, I currently live and work in Memphis, Tennessee as an artist and designer.
My work is a form of visual communication using simplicity and depth to express current, social and economic conditions. By using daily life as my content, I create a connection between both the personal and the public by manipulating color and composition to express mood, situation and setting.
My process combines complex situations with simple forms and figures to create a dialogue. The work is not an attempt to answer any questions or solve any problems. It is meant to express a specific idea or concept, based on the subject allowing the viewer to decide how to interpret the artwork.
The colors, forms, and shapes that I see around me plus the books that I read on diverse subjects move me to paint.
I stand in front of a canvas and feel a particular form and color. I take the color and form that I feel and apply them to the canvas. Then as a jazz musician would, I jam from that color and form. Everything then flows from my inner being. My goal is to paint happy and exciting visual images for other people to enjoy.
My paintings are in private collections in Alaska, California, Georgia, Kentucky, Michigan, Missouri, North Carolina, Tennessee, Texas and Washington.
Reflecting on the contemporary American landscape, the American Dream, and the effects that ideal has on both our environment and our national psyche.
I create arresting paintings that challenge the viability and reality of the American Dream –playing off of the contrasts between past and present, representation and abstraction, and stability and instability. My work deconstruct the notion of the American home as a symbol of stability by, situating imagery that is familiar within a fragmented and shifting landscape.
Nick Peña is an Associate Professor of Art at Christian Brothers University, where he also currently holds the Harold R. Krelstein Chair in Performing Arts and Communications.
In the past, I’ve had a hard time accepting my own bullshit level.
But as time turned the pages of life, I have been forced to take full inventory of who I am. I am not only selfish, narcissistic and vain, but I often have the nerve to expect great things even when I am not the best individual. This piece was therapeutic in nature and is not for sale.
I am American born in 1980. I got my first break in commercial art with Hallmark cards at 20 years old. After interning with Ridley Scott Associates in New York in 2005, I decided to pursue commercial production and Illustration full-time. My book Love, Sex & Drunk-text was recently recognized by the Huffington Post and the Aspire Network, my painting and films sponsored by HTC, the Jerome Foundation, 911 Fund, Lower Manhattan Cultural Council, Canon Inc. and Redbull.
I'm currently an Associate Professor of Art teaching sculpture, furniture design, 3D design, and drawing.
My work is exhibited nationally and has large scale public installations currently located at the United States Department of Agriculture, Iowa State University, the city of Ames, IA, and Jester Park in Granger, IA.
I was also the recipient of an artist residency grant at the Vermont Studio Center, sits on the board of directors at Number: Inc., and is the president of Kappa Pi International Art Honor Society. Above all, I considers myself a Maker of objects and an advocate for the arts.
Born in Kansas City, MO, I received his BFA from the University of South Dakota with an emphasis in sculpture and his MFA in Integrated Visual Design from Iowa State University with an emphasis in wood and metal.
Tim Andrews: "Do No Harm" Oil on Canvas, 29 x 34. 2016
Chuck Johnson: "Envy" Oil on Canvas, 24 x 24. 2016
Tim Andrews: "Artist in Garden" Acrylic on Canvas, 36 x 48. 2016
Jan Hankins: "Cosmic Cycle" oil on canvas, 80 x 40.
Jed Jackson: "The Most Beautiful Man" Oil on Copper, 12 x 12. 2015 (Jean Marais)
Matthew Thomas: “Am I Dead?” Oil, Bronze on Canvas, 40 x 35. 2015
Carl E. Moore: "The Morning Hunt" Acrylic on Canvas, 16 x 20. 2016
Chuck Johnson: "The Carl Moore Man" Oil on Canvas, 24 x 24. 2016
Michael Stanley: "World Wide Watcher" Perforated Steel and Bronze, 60 x 60 x 60. 2015
Richard Lou: "ReCovering Memphis: ReContexting Bodies" 33 minutes -Video Installation, Directed by Richard Lou. 2016
Chuck Johnson: "Three Guys Sitting Around Talking" Oil on Canvas, 48 x 48. 2016
Tim Andrews: "Self Portrait in Studio" Acrylic on Canvas, 30 x 30. 2016
Tom Murray: “We Are Getting There” Acrylic on Canvas, 24 X 18. 2016
Nick Pena` "Infinite Loop" Mix Media, 36 x 36. 2016
Kevin Mitchell: "Bromestic Violence" Screen Printed Installation, 30 x 44.
Matthew Thomas: "Ducked Off In That Light" Oil, Graphite on Canvas, 93 x 58. 2016
Richard Lou: "ReCovering Memphis: ReContexting Bodies" 33 minutes -Video Installation, Directed by Richard Lou. 2016
Terry Lynn, "I am the Man" Oil on Canvas Installation. 2016
Jan Hankins: "Avon Balling", Acrylic on canvas, 24 x 46. 2016
Elisha Gold: "Production" Cast Iron Sculpture, 2' high, 2' wide, 1' deep. 2016
Carl E. Moore: "The Gathering of Conspirators" Acrylic on Canvas, 30 x 40. 2016
Jason Miller: "Corporatized Version of Native American Family" Installation, 6 x 12. 2016
Nick Pena`: "Anxious Creationist", 46 x 46. 2016
Jason Miller: "Limp: In Chemtrail Contemplation of the Assassination of Sonny Bono" Installation, 3ft x 4ft. 2016