Richmond Burton

Silas Marder Gallery, Bridgehampton, NY 
July 12 - August 11, 2014

Since his successful inauguration into the New York arts scene in the later 1980's, Richmond Burton has devote his practice to learning, citing and rupturing the canon of abstract painting. This exhibition featured several of the last large-scale paintings the artist created while living in the East Hampton studio of Elaine de Kooning before leaving the East End in 2011, as well as a number of recent works. The juxtaposition of these paintings, whose origins span from East Hampton, New York to Santa Monica, CA draws attention to Burton's ability to adapt his distinct mosaic style to reflect the natural and spiritual shifts in his surroundings. 



Jason Middlebrook: Every Tree is a Map
Silas Marder Gallery, Bridgehampton, NY 
August 16 - September 14, 2014

Every Tree is a Map featured of Jason Middlebrook's recent "plank" paintings. Hend-selected, rough-hewn slices of various hardwoods are adorned with brightly hued patterns that mimic the trees' natural growth rings through materials and techniques manufactured by contemporary culture. These intriguing combinations of constructed and organic beauty are a guiding force throughout his work, illustrating the artist's investigation into the parallels and divisions between nature and culture. 



Louise Eastman: Loop Holes
Silas Marder Gallery, Bridgehampton, NY 
October 11 - November 23, 2014

Louise Eastman creates large-scale weavings that are undeniably akin to the brightly colored homemade potholders of the 1950's. Eastman's works do not attempt to disguise their relationship to this traditionally utilitarian and kitschy object, but rather embrace and expand on the allusions it offers. The artist combines boldly colored natural and acrylic wool to create a textured 3D mass of vibrant geometric abstraction that suggest Pop Art associations, as well as more subtle Minimalist works, such as her seven-foot square weaving of toilet paper, reinforced by colorful threads that punctuate the reductive composition. Eastman indulges us in the more crude aspects of her materials: the "loose ends," hasty knots and dangling strings that return us to the craft, commingling kindergarten musings with the vernacular of contemporary art. 



Home Spun
Silas Marder Gallery, Bridgehampton, NY 
November 29 - December 21, 2014

Home Spun explored various ways in which artists use traditionally craft-based materials and techniques to communicate contemporary ideals. Works by artists Aaron McIntosh, Susie Brandt and Elizabeth Duffy use traditional quilting methods to communicate ideas surrounding identity, security and socioeconomics. Saskia Friedrich creates minimalist studies by by draping, pinning or taping strips of fabric into simple compositions that shift from monumental to miniature with equal potency. Sheila Pepe's small sculptures composed of found materials and fabrics are framed by a silvery crocheted grid suspended from the ceiling of the gallery. Field Kallop's canvases are stitched, dyed and bleached, yielding elegant patterns that refer to textile traditions. Louise Eastman's weavings use their kitschy inspiration - the potholder - as a starting point, while Sydney Albertini's colorfully knitted "Heads" reference classical busts tweaked with an absurd sense of humor. Josh Blackwell explores the purpose and use of everyday disposable items, in this case embroidering abstract compositions onto "disposable" plastic shopping bags with brightly colored wool, silk and paper.