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Linda Griggs CSG/NY fall solo 2 Christopher Stout Gallery, New York presents, WHAT TO DO WITH THE BODY, a solo body of paintings concerning peculiar and volatile death stories by Linda Griggs. Linda is represented in New York by CSG/NY and has previously shown work in 5 previous project with the gallery, including her previous solo, THE FIRST TIME IS NOT LIKE PORN October 2015. * * * * * * * * * * Christopher Stout Gallery, New York (CSG/NY) is a contemporary art gallery in Bushwick, showing subversive and difficult work by New York City artists. We delight in serving as a platform for discourse on work that is challenging to authority paradigms, feminist, queer, anti-establishment, hyper-aggressive, mystic, and/or joyously sexual. |
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Brian Andrew Whiteley CSG/NY fall solo 1 Christopher Stout Gallery, New York presents, THE LEGACY STONE (aka the Donald Trump Tombstone) a sculpture solo by Brian Andrew Whiteley. A recent article by New York Magazine media property Bedford + Bowery does an admirable job of encapsulating the story and the journey of the Donald Trump Tombstone… “Remember the Trump Tombstone? Also known as “Legacy Stone,” it was a 400+ pound granite tombstone created by artist Brian Andrew Whiteley initially placed in Central Park, bearing the name of one Donald J. Trump. It had no death date but rather the message “Made America Hate Again.” It briefly mystified the public, but was ultimately unmasked as being made upon request at a South Slope memorial shop, and was confiscated by the NYPD. Brian is represented in New York by CSG/NY and has previously shown work in 3 previous projects with the gallery, including a project room gallery presentation last December. This is his first solo with CSG/NY. * * * * * * * * * * Christopher Stout Gallery, New York (CSG/NY) is a contemporary art gallery in Bushwick, showing subversive and difficult work by New York City artists. We delight in serving as a platform for discourse on work that is challenging to authority paradigms, feminist, queer, anti-establishment, hyper-aggressive, mystic, and/or joyously sexual. |
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Opening, Friday June 03, 6-9pm ERIC GOTTSHALL: Testing in Progress – Trial 1 Christopher Stout Gallery, New York F: Facilitating In the dystopian satire that is the artists projected future for this planet, the digital interface between user and technology has become so fully immersive that our most formative generations have lost their tactile relationship with reality. Developed by our government in the year 2050, these devices (FACE Units or FACE's - Facilitating Analogue Cerebral Exploration) pose as psychotherapeutic digital detox units, whose sole purpose is to reinstate a genuine conversation between the individual, their body, and their immediate surroundings. Image: "Digital Vision," Allows you to see only light and color via fiber optic bales affixed to the patient's fingers. Corrugated plastic, iPad, headphones, action cam. 26.5x20x22.5", 2016. |
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| Opening, Friday June 03, 6-9pm On View Thursday-Sunday, Noon-6pm, June 03-26, 2016 VINCENT TILEY: Silent Heat Christopher Stout Gallery, New York 289 Meserole Street, Ground Floor Rear Gallery (L Train, Montrose Stop) Brooklyn, New York 11206 Christopher Stout Gallery, New York is pleased to announce Silent Heat by Vincent Tiley. This is the artist’s first solo show with the gallery and his second solo show in New York City. Silent Heat blurs the distinctions between sculpture, painting, and performance with wall mounted works that are evocative of bodies and durational works in which the body becomes a form and substrate for a painted surface. For this show Tiley expands upon his performance practice and its relation to fetish to create suits for performances like Knast in which Tiley and his friend, performance artist Hunter Reynolds, will be connected to each other in a sculptural bodysuit built for their two bodies that will abstract the performers and obscure their identities while forcing them to touch. Materials and objects with significance within alternative queer and fetish cultures like leather jackets and bondage rope are transformed into paintings with strong associations with sex while acknowledging legacies of modernist abstraction like in Halsted or coyly suggest active performative participation, bondage, and entanglement as in It Feels Good to Burn a Bridge. The work creates a vortex of experience, drawing the viewer in as possible participant or through absorption until they are forced back out only to be drawn in again. This collection of works sits on a spectrum between subject and object, with paintings and sculptures that are becoming bodies through some performative quality, affect, or tactility and performances that abstract and objectify the performers through duration and restraint. |
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| Opening, Friday May 06, 6-9pm On view Thursday-Sunday, Noon-6pm, May 06-May 29, 2016 Christopher Stout Gallery, New York 299 Meserole Street, Ground Floor Rear Gallery (L train Montrose stop) Brooklyn, New York 11206 J. Morrison HOMOCATS: STEP YOUR PUSSY UP! Christopher Stout Gallery, New York is proud to present Brooklyn-based artist J. Morrison’s HOMOCATS: STEP YOUR PUSSY UP! at their first NYC gallery exhibition. J. Morrison first created the HOMOCATS during a 2010 residency at the Anderson Ranch in Colorado. Morrison’s new site-specific installation features wallpaper, screenprints, and related multiples that explore both the abundance of cat culture on the Internet and the intersection of art & activism. Playing off the viral phenomenon of the feline, the HOMOCATS continue their quest to fight phobias, propose equal rights, combat cultural stereotypes, and challenge social norms and stigmas. Paying homage to historic queer symbols such as the rainbow flag and pink triangle, Morrison’s work also pays a nod to pop art and pop culture with playfulness and humor. On the verge of our first female presidential nomination, and quoting RuPaul’s song “Step it Up,” the HOMOCATS propose you STEP YOUR PUSSY UP! * * * * * * * * * * * * * * * * * * * * * * * * Bio: J. Morrison is a multidisciplinary Brooklyn-based artist working in print, performance, and curatorial projects. The HOMOCATS have been exhibited at the NY and LA Art Book Fairs, Transformer Gallery (Washington, DC), Lorem Ipsum (Boston), Brooklyn Fireproof Gallery (NY), BGSQD (NY), and Christopher Stout Gallery during Miami Art Basel week. |
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| Opening, Friday May 06, 6-9pm On view Thursday-Sunday, Noon-6pm, May 06-May 29, 2016 Christopher Stout Gallery, New York 299 Meserole Street, Ground Floor Rear Gallery (L train Montrose stop) Brooklyn, New York 11206 KELSEY SHWETZ: #tbt For her first New York solo exhibition, Kelsey Shwetz recasts the historical collapse inherent to #tbt to gesture beyond the studies of gaze and the female body prominent in her early work; toward the mysteries of memory, and the intersection of mind and matter. Drawn from photographs of varying provenance, from a found family portrait to rediscovered iPhone snapshots, the canvases of #tbt see Shwetz deploying a dazzling array of formal and compositional means to bring her own history with the figures of each image back into the picture: A night of collective sexual joy is reimagined as a complexly rendered theatrical tableaux in which character is relational without succumbing to tidy narratives. A friend on the verge of departing New York radiates in and as searing geranium red, a minimalist monument in flux rejecting any distinction between figure and ground. A family of four poses at home, the clean geometry of a known, domestic space held in tension with hazy figures rendered alien by time. Presented alongside these four large works are selections from a series of smaller canvases which foreground the analog collage process central to Shwetz’s compositions. |
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| Preview 31 March 2016, 1-8pm Opening Reception 01 April 2016, 6-9pm Christopher Stout Gallery, New York 299 Meserole Street Ground Floor Rear Brooklyn, New York 11206 The Revolution Will Be Painted A New Body of Work by Anne Sherwood Pundyk New York feminist painter Anne Sherwood Pundyk's solo exhibition is comprised of six wall-sized abstract works on canvas. Created during the last year while painting on the East End of Long Island, the pieces activate the space around them employing unruly color and a formal vocabulary exploring the compositional possibilities of contrasting organic and geometric forms. Expanding on the new theater of space in her works, solo and group dances will take place at the CSG/NY opening and in the gallery. “…The conditions of seeing will come into focus. / Painting will be in the present tense. / The stained or brushworked canvases will be lurid in subject or color. / A painting will be unexpectedly altered in the process of its viewing. / You will become aware of the paradoxes of symmetry. / A painting will never know where else it might go, / and will be incapable of closing down the possibility of an exit from, / wherever it happens to be right now. / The revolution will be painted…” — Anne Sherwood Pundyk, TRWBP, ART 21 Magazine |
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| Preview 05 March 2016, 6-9pm Opening Reception 11 March 2016, 6-9pm Christopher Stout Gallery, New York An Accidental Revolutionary… A Fruit Bowl Manifesto features the work of Andrew Cornell Robinson who has collaborated with a dozen different artists, designers, musicians, and a poet. Their inspiration comes from an inherent sense of play–a distinct sense of humor, the dangerous, poetic, rebellious and at times the absurd. Robinson explores discordant assemblages of personality, memory and history through craft. The work is comprised of a ceremonial series of reliquaries, grottos, artifacts, photographs and agitprop from the personal to the poetic. Inspired by radical events loosely informed by memory and reimagined through the proxy of two personae based on historical and fictional characters that include Madame Thérèse Defarge, the villainess in Charles Dicken's novel A Tale of Two Cities, Rene Stilitano, the object of affection in The Thief's Journal by Jean Genet and the French revolutionary Jean Paul Marat and his assassin Charlotte Corday. In contrast to Jacque-Louis David's celebrated painting, Death of Marat, Robinson has combined historical and fictional narratives with his own memories of an activist past as a departure point to reimagine memory through independent works and creative collaborations with a jazz composer, a master print-maker, a costume designer, a poet, a product designer and many others. Each of these collaborations began with a conversation about a reimagined persona. They worked together to create artifacts, ideas, sounds and garments for. The resulting queer things are not easily defined. Robinson has sought out fringe story-lines, and diaristic visual fragments, attempting to pass as artifacts and heirlooms, ideas and agitprop as aesthetic signs and stories. Participation, inspiration and collaboration and thanks to the following: Greg Climer, Paul D’Agostino, Richard Darlington, Jeffrey Goldstein, Julia Gorton, Sigfrido Holguin, Michael Kirk, Elias Paulson, Alex Reyes, Sarah Bonham Robinson, Renée Rockoff, Brett Sroka, Patty Suarez, Steve Turtell, Andy Wentz and the Parsons Print Shop. This exhibition is made possible in part by support from the New School and Parsons through a Research and Creative Practice Grant. |
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“Neither Coincidence Nor Destiny” a solo exhibition by artist Josh Kil Josh Kil is a multidisciplinary artist, who works in sculpture, performance, drawing, and film to explore ceremonial magic, ritualistic magic, tarot, and the occult. “Neither Coincidence Nor Destiny” is an esoteric body of work that includes all of these elements, and tells a narrative loosely based on mysticism, dreams, and the artists own upbringing. |
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Saturday January 30th and Sunday January 31st, 1:00-6:00pm “Ego and pretense has seriously fucked with the quality of work being made in the art world. I'm also tired of the bullshit trendy art dialogue about how the art world is driven by rich people who want shiny work and don't care about meaning as well. But mostly, I think it will be weirdly fun to be naked in public." —Lisa Levy Nowadays, the art market calls for work that is shiny and easy to digest which Levy feels distracts from artists making the work that they and their viewers will find most emotionally satisfying and connecting. Referencing Marina Abramović's seminal 2010 performance at Moma, "The Artist is Present" as a symbol of contemporary art world pretense, Levy will recreate her own version of Marina Abramović's 2010 performance at Moma, "The Artist is Present" as her own "The Artist Is Humbly Present." In her version, Levy will present herself completely naked, silent and sitting on a toilet. Across from her will be another toilet, which visitors may sit on across from her as in the original Abramović performance. That toilet will be presented lid closed with visitors responding to Lisa's performance however they wish, with the exception of touching her. |
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Our gallery was launched in 2015 by Christopher Stout who serves as gallery founder and director. ------------------------------- |
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