Somatic Markings
Past exhibition
-
-
Somatic Markings features seven international artists that employ the nude figure to grapple with issues of contemporary corporeal politics. Incorporating feminist, queer, and postcolonial methodologies that are constitutive of the artists’ personal histories, these works disassemble notions of the traditional nude, transforming the figure into a medium for nuanced discussions that develop on and beyond issues of identity or the reclamation of the gaze. Rendered in vivid hues that blur the line between figuration and abstraction, the exhibited works respond formally with a rejection of the binaries that underscore the logical fallacies of many forms of oppression. On view at 297 Tenth Avenue from November 3 through December 23, the exhibition includes work by Shadi Al-Atallah, Mira Dancy, Miranda Forrester, Elizabeth Glaessner, Anya Kielar, Katherina Olschbaur, and Mark Yang.
-
-
The exhibition draws on the text The Brain’s Body: Neuroscience and Corporeal Politics by Victoria Pitts-Taylor. The author’s theory of complex embodiment sees “the body and its representations as mutually transformative. Social representations obviously affect the experience of the body […] but the body possesses the ability to determine its social representations as well.” The exhibition explores such evolving paradigms regarding our relationship to our undeniable physicality, developing on feminist and queer theories that have focused on the uses of the nude in social terms. The paintings included in Somatic Markings rework various art historical conventions—including classical examples of idealized physicality, fauvist color palettes, prehistoric fetishistic talismans, and cubist disassembly—with each artist’s personal mythology to present a neoteric vision of the future.
-
-
Together, the works typify each artist’s role as a mirror or medium through which a complex and influential triangulation of mind, body, and society can be expressed. The painters included in the exhibition enact profound explorations of the brain-body connection that call on their personal experiences in multiple ways, touching on experiences of illness, gender, and sexuality. More broadly, unpacking the manner in which physical presentation affects our experience in society, the works combine analysis of the body politic with that of the role of the individual body in an increasingly nationalistic political landscape.
-
-
-
Through painting, the body enacts a cathartic mechanism for psychological healing that occurs outside of binaries. Emphasizing themes of embodiment, performativity, transformation, agency, and freedom, Somatic Markings acts as a forum for contemporary discourse and proposes that the inherently relational experience of our bodies can become analogous to the act of making itself—painting as an embodied performance.
-
Works
-
-
Explore
-
Ian Davenport: Tides
October 30 – December 20, 2024 509 West 27th Street, New YorkIan Davenport’s latest works expand his series of poured acrylic paintings that spill across the gallery floor, employing the signature technique that defined the artist’s recent architectural interventions across Europe, namely in the Giardini at the 57th Venice Biennale (2017) and at the Chiostro del Bramante in Rome (2022-23). The exhibition also introduces metallic paint into Davenport’s artistic vocabulary, deepening the artist’s engagement with the colors and materials of Italian Renaissance painting. -
Elliott Puckette: Unfolding
October 30 – December 20, 2024 297 Tenth Avenue, New YorkThe artist's eleventh solo exhibition at the gallery features a suite of new paintings and bronze sculptures that expand upon the artist’s signature visual exploration of the line as a formal device to realize her atmospheric abstractions. -
Julie Hamisky: Transference
October 30 – November 23, 2024 514 West 28th Street, New YorkImmortalizing the most intricate details of the natural world, Julie Hamisky continues to garner international recognition for her rigorous electroplating technique that belies the ephemeral forces of nature. In freestanding sculptures, mirrors, chandeliers, and fine jewelry, Hamisky’s transformative approach to casting organic matter preserves fleeting moments in time.
-
