Friday, February 22, 2019

BRIAN HUBBLE: Odes and Offerings at ADA Gallery, February 2019








Brian Hubble: Odes and Offerings



Brian Hubble is an illustrator and painter, born in Virginia in 1978. He earned his BFA from Virginia Commonwealth University, attended Illustration Academy, and completed his MFA from The School of the Art Institute of Chicago, where he was a William R. French Fellowship recipient. Hubble’s most recent solo and two-person exhibitions include Whatever is Known is Magnified at Fresh Window (Brooklyn, NY), Lead Ham at Fastnet Gallery (Brooklyn, NY), and Monogram at Less is More Projects (Paris, FR). His expansive group exhibitions include Artists Need to Create on the Same Scale at Mana Contemporary (Jersey City, NJ), 15 YRS! EVERYONE IN THE POOL at ADA Gallery (Richmond, VA), and Cut Outs at Usable Space (Milwaukee, WI).


Hubble is currently based in Brooklyn, New York. He is the co-director of Unisex Salon, an artist-run and multidisciplinary platform for representation, located in Williamsburg, Brooklyn. He has spent the last 12 years studying the life and work of Andy Kaufman.

Odes and Offerings is on view now at ADA Gallery, through March 2019.

VISIT US at 228 West Broad Street, Richmond VA

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JARED CLARK: New Work @ ADA Gallery 2019


Jared Clark, a Utah native who received his MFA from VCU in 2007, returns to Richmond with his latest ADA exhibit, aptly titled New Work. Through his latest “kitschbilds,” assemblages of thrift-store and other found objects together with colorful resin, Clark carries on his lifelong obsession with rummage-sale detritus and continues to blur the line between painting and sculpture. In addition to providing the canvas for his arresting palette, the kitschbilds showcase Clark’s talent for diving headfirst into chaos, creating still more chaos, then bringing order out of it. Be they dense collections of kitschy sculptures or elegant, monochrome pieces of resin, Clark’s bilds suggest the infinite ways in which everyday objects can be reconfigured, re-contextualized, and reimagined.





New Work includes new pigmented resin pieces, the mold for which are former food containers. With these, Clark finds the ordered elegance in a humdrum shape, bestowing it with the sleekness of an LCD screen and the enticing translucence of a Jolly Rancher. Please do not lick the art.




Clark has received fellowships from the Utah Arts Council, the Virginia Museum of Fine Arts, the Dedalus Foundation, and the Vermont Studio Center, and has participated in residencies at the Vermont Studio Center, Art Omi, and Berlin’s Kompact Living Space. His solo exhibitions have shown at the Utah Museum of Contemporary Art, the Virginia Museum of Contemporary Art, the Volta Art Fair, Denise Bibro Gallery, and has shown many times at ADA Gallery since 2006.



VISIT US AT: 228 West Broad Street, Richmond VA

CONTACT GALLERY: adagallery@gmail.com

INSTAGRAM @the_ada_gallery

www.adagallery.com


Tuesday, February 12, 2019

JANUARY 2019 : SEDRICK CHISOM, THE GHOST OF WHITE PRESIDENTS YET TO COME


“Year XX10, the final year of the Christian era. Twenty years after People of Color gave up on wypipo and left the planet to explore the cosmos, the enigmatic genetic disease revitiligo expresses itself amongst every yt on earth, imperiling whiteness. With no known cure, the remaining terrestrial nations of North America face unprecedented national turmoil as wypipo begin to develop dark skin pigmentation. President Maura Gardener of the Coastal Union of Civic States and President Ronald Tiller of the Confederate Disaffiliation of States concurrently declare a state of emergency for the countries they lead. A combined forces military operation between the Confederate Disaffiliation of States and the Coastal Union of Civic States is launched to search for Aryanness in Other Places. Scouts from both the CD of S and the CU of CS conduct a joint expedition in the polar ice caps of Monument Valley, where reports of monstrous people being sighted in the savage south have emerged...”

Sedrick Chisom was born in Philadelphia and received a full scholarship to study at Cooper Union. Fascinated with thermal imagery and preoccupied by Christian iconography, Chisom conjures images that are both warm and chilling, akin to a pietà surveilled by a U.S. Army drone. Much of his work examines the ways in which Whiteness and Christianity have colonized the lives and sublimated the suffering of People of Color.  

As its title indicates, “The Ghost of White Presidents Yet to Come” continues these themes. In these paintings, Chisom composes a sci-fi epic in which PoC have abandoned a dying Earth to explore the universe. As some of the remaining “wypipo” begin to develop darker pigmentation, their governments declare a state of emergency and send an expedition to the polar ice caps and Monument Valley in search of “Aryanness in other places.” Chisom’s ghostly figures float through a world of melting ice and societal decay that viewers may find hauntingly familiar. If the spectral landscapes and desperate faces – or postures, where there are no faces – don’t make it clear enough, Chisom has noted that these scenes are from “the final year of the Christian era.” It’s the end of the world, or at least the end of the world as “yts” know it. 

While at Cooper Union, Chisom received the Jacques and Natasha Gelman Foundation Award for Exceptional Ability. After completing his BFA, he received his MFA from the Mason Gross School of the Arts at Rutgers University. His work has been displayed at numerous group shows, including at JTT Gallery, Signal Gallery, and Abrons Art Center. He has been featured in New American Painters (Issue 134), Forbes Magazine, Artnet, and Artsy.  

all images are copyrighted 2019 by Sedrick Chisom










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