AMP Gallery 2016 Exhibitions Catalog

48 Pages·2016·18.92 MB·English

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AMP 432 Commercial Street • East End
PO Box 807 (mail) | 646.298.9258
[email protected]
www.artmarketprovincetown.com
Debbie Nadolney, Director + Curator
ARTMARKET
PROVINCETOWN
432 2016 Season
a live gallery space
Opening Receptions | 6 to 9 PM | Fridays
Fri, May 27 Jamie Casertano, Frank Mullaney, and Christopher Turner.
Fri, June 10 Bobby Busnach, David Macke, Alice O’Malley, Gail Thacker, and Conrad Ventur.
Film Festival Screenings and Talks (TBD). Plus a film by Shaari Neretin.
Fri, July 1 Steven Baines, Judy Mannarino, Christopher Sousa, Forrest Williams, and
Juan Pablo Echeverri.
Fri, July 15 Karen Cappotto, Larry Collins, and Pasquale Natale.
Fri, July 29 Mimi Gross, Marian Roth, Jicky Schnee, Bebe Beard, Mary Deangelis,
Zehra Khan, and Karen Cappotto.
Fri, Aug 12 Katrina del Mar, Bobby Miller, Eileen Myles, Christopher Tanner, Jay Critchley,
and Shania LeClaire Riviere.
Fri, Aug 26 Midge Battelle, Bebe Beard, Barbara Cohen, Anne Corrsin, M P Landis,
Arlene Shulman, and Cindy Sherman Bishop.
Fri, Sept 16 John Brattin, Linda Leslie Brown, Dana Ellyn, James Montford, and Matt Sesow.
Fri, Oct 14 Susan Bernstein, Terry Boutelle, Karen Cappotto, Megan Hinton, Marsha Lieberman,
Nancy Marks, Jeannie Motherwell, Judith Motzkin, and Champa Vaid.
Ongoing Potty Oracle, an in-loo-in-gallery installation by Heather Kapplow.
Ongoing The Life of Objects, an installation in the +20inches gallery by Ellen Rousseau.
Ongoing The Other Side, an outdoor installation Richard Dorff.
Happenings For details on live events, please visit: www.artmarketprovincetown.com/happenings
Opening Reception — Friday, May 27, 6-9 pm May 20 – June 9
JAMIE CASERTANO | I’ve Been Here Before
“Photography, for me, is an ongoing visual exploration of the
broad scope of emotion and experience. A determined attempt
to get behind and beyond the ubiquitous smiles that greeted me
whenever I lifted my camera during the early and formative years
of my taking pictures. Most interesting to me are moments that
are revealing and give glimpses of one’s inner world. Also, in ob-
serving objects, iconography and spaces as clues and metaphors.
Understanding that the camera can often serve as a key of sorts
to circumstances and settings that might otherwise be inacces-
sible or overlooked intensifies my desire to photograph them. Cu-
riously I seek images that can be found in both the elusive dark
corners and brightly lit stages of personality.
I’ve Been Here Before is a collection of photographs that consider
the potent nature of nostalgia, recollection, intuition and the feelings
these states of mind produce both pleasant and odious. Furthermore
a visual study of forms and symbols that evoke memories, along with
their varying implications, and
the manner in which they are
kept and displayed.”
Jamie Casertano was born I’ve Been Here Before, photograph
in Brooklyn, New York on by J. Casertano
Christmas Day in 1972. His discovery of photography occurred as
a child in his father’s basement darkroom. The urge to take photo-
graphs soon followed and later led him to study photography.
Beginning in NYC, and continuing presently in Provincetown, his work
initially gravitated toward subculture, nightlife, and nonconformity. He’s
influenced by the works of Diane Arbus, Ralph Eugene Meatyard, Nan
Goldin, Peter Hujar, Yasumasa Morimura, and Martin Parr.
Casertano studied photography with Mark Asnin, among oth-
ers, at the School of Visual Arts. He had two solo exhibitions at
the A Gallery in Provincetown, and his photographs are in the col-
lections of the Leslie-Lohman Museum of Gay and Lesbian Art in
New York, and the Provincetown Association and Museum. His
work has been published by Provincetown Arts Magazine, The
Stag, photograph by J. Casertano Boston Globe, and Simon & Schuster.
FRANK MULLANEY | Wallpaper Saints
“The series, Wallpaper Saints, was inspired by the holy prayer cards I
collected during my Catholic youth. As an altar boy, I used them to pray
against the dawning awareness of my homosexuality. Yet the homoeroti-
cism of many of the religious images only exacerbated my confusion,
causing me to careen from shame to lust and back again. With this proj-
ect, I’m photographing gay and trans men and women, each seemingly
lost in a moment of transcendence. I’m working to reject the self-sham-
ing associations I had with these religious images while simultaneously
acknowledging their erotic charge.
The use of the word ‘saint’, for me, conjures up the pain and some-
times torment that gay people of my generation experienced growing
up. Just as we emerged from the shadows to celebrate our sexual ori-
entation, we, as a people, were faced with and often struck down by the
AIDS epidemic. But the majority of the gay community, many of them ill
themselves or in a cloud of incom-
prehensible grief, learned to forgo
self-centeredness and to care for
others, performing unheralded
but necessary acts that ultimate-
Luke of the Flowers, photograph by
F. Mullaney ly would lead to a stronger, closer,
more self-aware community.”
Frank Mullaney was born in Cambridge, Massachusetts in 1957
and moved to New York City in August of 1977, the same week Elvis
Presley died and Son of Sam was apprehended.
Movies and photography shaped his early years and gave him a
way to make sense of his world. He spent his weekends watching
Hammer Studio horror films at the Capital Theater and picked up
his first camera at nine years old, a Kodak 110 Instamatic. A year lat-
er he owned a Polaroid Swinger that he took with him everywhere.
In 2006 he began a formal education in photography at The In-
ternational Center of Photography.
His work has been exhibited in New York City; Provincetown, Los
Angeles, the California Museum of Photography in Riverside, CA,
the Center for Fine Art Photography in Fort Collins, Colorado, and
numerous galleries in the Catskills.
Frank divides his time between NYC and Livingston Manor, NY. JMY with Bird, photograph by F. Mullaney
CHRISTOPHER TURNER | Queer Elders
“I’m currently working on a series focusing on Queer Elders.
I want to emphasize eldership in the sense of leadership and
influence. This is the beginning of a series of portraits and video
interviews of LGBT leaders, icons and elders—all over 60 years
old. The interviews focus on each individual’s queer history. I
feel it’s important to record the stories of those who were part
of the LGBT rights movement and the sexual revolution. What
was it like growing up queer in the 30’s, 40’s or 50’s? These
subjects came of age in a time when homosexuality was con-
sidered both a crime and a mental illness. My goal is to work
with 40-60 elders for this series.
I chose to do a very straight-forward large format headshot
for each subject. I want to show these individuals as heroic—
not only for coming out when they did, but for being activists
and leaders in the commu-
nity. I feel these larger than
life prints bring a sense of
intimacy and shows the
depth of these faces.
Most of my photographs
tend towards a darker, more Michael Cunningham, photograph
by C. Turner
contrasted palette. It’s my
goal to explore lightness and
dark in the tones as well as the emotional content of my work. In
addition to my portrait series I’m currently working on a series of
long-exposure nighttime landscapes.”
Christopher Turner is an emerging artist who attended
New York University where he received a B.A. in Art History
and Psychology in ‘93. He is largely self-taught as a photogra-
pher. He has been doing portrait and landscape photography
full-time for the past three years and part time for over 12
years. Prior taking on his preferred vocation full-time he was
a web-developer.
Some of his work was recently part of a group show with SLATE
Art (Berkeley) and his nighttime landscape series is being shown by
Jewelle Gomez, photograph by C. Turner Poetica Art (San Francisco).
June 10 – June 30
Opening Reception — Fri, June 10 6-9 pm
BOBBY BUSNACH | Fags, Hags and Wannabees: Scenes of Tribal Grit, Glam &
Camp from the 70s
Bobby Busnach was born on September 16, 1955,
in Cambridge, MA. Embracing the 1960’s coun-
ter-culture, he rebelled, fought with his teachers,
smoked pot, tripped on acid, and started to run
away from home at the age of 12. By 15, decked
out in his A. Smile baggies and 6-inch platforms,
the glitter boy lived on the streets of Boston and
Cambridge, hustling on Commonwealth Ave. to
survive. He “came out” of his closet that year and
became a regular at the Other Side, a gay bar
frequented by fags, hags, drags, dykes, and wan-
nabees, not to mention pimps, hos, and hustlers,
a world also documented by fellow habitué, pho-
tographer Nan Goldin. These ‘dregs-of-society’ Gerry and Chuck, photograph by B. Busnach
became Bobby’s family.
In 1973 Bobby and best friend Geraldine moved to New York City, where, influenced by Bowie,
Fellini, Warhol, Hurrell, Helmut Newton, and the classic films of old Hollywood, Bobby began docu-
menting the times and family of friends through photography. Carefully staged; much time was
spent creating the perfect look with clothing, lighting, and makeup, taking pictures through the night
and into the morning to the accompaniment of pounding disco music and Quaaludes.
Gerry, photograph by B. Busnach Fayja, Queens, NY 1974, photograph by B. Busnach
DAVID MACKE | “chthon-ic” 2016
”If we were to see them in their glorified forms
we would be tempted to bow down and wor-
ship them.” – C. S. Lewis, The Weight of Glory
“Through photography and video my por-
traiture explores the classical and contempo-
rary iconography of performing manhood and
the wild natures of boys becoming men. Some
of our greatest cultural icons transcend stan-
dard male gender ideals, despite being outsid-
ers with exaggerated expressions of the mas-
culine. Consider the glorification of Rudolph
Valentino (b. 1895), John Wayne (b. 1907),
Montgomery Clift (b. 1920), Marlon Brando
(b. 1924), Rock Hudson (b. 1925), Andy Warhol
(b. 1928), James Dean (b. 1931), Elvis Presley
(b. 1935), David Bowie (b. 1947), Billy Idol (b.
1955), Michael Jackson (b. 1958), Brad Pitt (b.
1963), Kurt Cobain (b. 1967), River Phoenix (b.
1970), Leonardo DiCaprio (b. 1974), Tom Hardy
(b. 1977), and Justin Bieber (b. 1994) who have
gained wide mass sexual appeal. Such men
steer society’s notions of masculinity, as well as
sexuality, by establishing mythic identities that
transcend or adopt ideals of popular normative
male posturing. Usually, this is in dialogue with
the male and female ideals, under the specter
of commercial identity, the self as performance
art; i.e., performing the masculine.”
David Macke is Artistic Director, YOUR
NAME HERE: Theatrical Productions, your- “chthonic,” 2016 video still, by D. Macke
nameherequeer.org; Film director: Jeremy
and Big Al. Visual work includes: Riverzine: A Tribute, Whitney Museum of American Art; Video Portrait
Exhibitions: ArtSTRAND, AMP Gallery; Queer Portraits Videos; Queerocracy Symposium PhotoFeast. Art
books: NY Art Book Fair, MoMA PS1; LA Art Book Fair, The Geffen Contemporary at MOCA; 80WES Gal-
lery, Printed Matter Pop-up Shop, NY; 8 Ball Zine Fair, NY Art Book Fair at MoMA PS1. Artwork: Marginal
Press, Tokyo; Art Metropole, Toronto; ARTBOOK@ MoMA PS1; PM@Walker Art Center; Printed Matter.
ALICE O’MALLEY | Lesbian Poetry
Alice O’Malley is a New York photographer whose work is ex-
hibited in galleries and museums internationally, and regularly
appears in art, culture, and fashion magazines. Her monograph,
Community of Elsewheres, is a photographic archive of a circle
of New York artists at the turn of the millennium. It was pub-
lished in conjunction with a solo exhibition by the same name.
She teaches at the International Center of Photography.
Exhibitions have included: MOCA, “Art AIDS America”, Los
Angeles, 2015; Art Gallery of Ontario, “Fan the Flames: Queer Po-
sitions in Photography” Toronto, 2014; Ryerson Imaging Center,
“What it Means To Be Seen: Photography and Queer Visibility”
Toronto, 2014; Schoolhouse Gallery, Provincetown, MA, 2014;
Ono Contemporanea, Bologna, Italy, Fall 2013; Strange Loop
Gallery, “Kenny Kenny 13”, 2013; Andrew Edlin Gallery, “B-Out”,
2012; A.I.R. Gallery, “Illegitimate and Herstorical” 2012; Sue
Scott Gallery, “Lush Life”, 2011; PS 1, “Greater New York”, 2010;
New York Photo Festival, “Lou Reed’s Pavilion”, 2010; Mulry Fine
Art, West Palm Beach, 2010; International Center of Photogra-
phy Museum Triennial “Dress Codes” NYC, 2009; Centre Culturel
Calouste Gulbenkian, “Au Feminin” Paris, 2009; agnes b. galerie Lesbian Poetry, photograph by A. O’Malley
du jour, “6 Eyes” Paris 2009; CEPA Gallery, “Many Moons” Buf-
falo, NY, 2009; ICP Museum, “This is Not a Fashion Photograph” NYC, 2009; Nina Freudenheim Gallery,
Buffalo, NY, 2008; Isis Gallery, London, 2008; Participant Inc., “Community of Elsewheres” NYC, 2008;
Mitchell-Innes & Nash, “A Rabbit as King of the Ghosts”, NYC, 2007; Participant, Inc., “Blow Both of Us”,
NYC, 2007; ABC No Rio Biennial, “Ides of March”, NYC, 2006; PS 122 Gallery, NYC, 1999.
ETHAN SHOSHAN | Screen Tests for
Disappearing into the Ocean
The two pieces featured in this exhibition are stills from an im-
mersive performance where the artist slowly tries to erase his
body into a projected video of an ocean. The video of the ocean
was taken in Provincetown, capturing the light reflected off ocean
waves, glaring bursts in a luminous expanse of water.
Ethan Shoshan’s performances often use out-of-date tech-
nology to highlight the frailty of capturing experience and allude
to intimations of mortality. Inspired by celluloid as a tangible ma-
Goodbye, Screen test video still, achival terial between life and representation through light, he sees per-
pigment print, 12” x 18”, 2015, by E. Shoshan formance as a doorway to the unconscious.
GAIL THACKER | Polaroid Theatre
“These portraits are created with artists who are ex-
pressing themselves through their medium- their bod-
ies, their sense of selves. While in flux, a spontaneous
state of play occurs as a one-time performance among
the artist, myself and the viewer.”
Gail Thacker has for decades used the inherent in-
stability of Polaroid film as an active component in her
portraits and cityscapes. By deliberately evading fixing
protocols and placing her negatives aside for as long
as a year after exposure, she subjects them to a series
of random changes and distortions, and the resulting
c-prints have a vibrancy and life that could only origi-
nate in the ethers of science and chance. The intensity
of Thacker’s images also comes from her choice of the-
atrical and transgressive subjects and her ability to find Joey Gabriel in Brooklyn, c-print from
her vision at the edge of coherent perception. Polaroid, 2009 by G. Thacker
Thacker’s work has been seen in exhibitions at museums
and galleries including Centro Galegode Arte Contemporánea
(CGAC), Santiago, Spain and Safety Gallery, the June Bateman
Gallery, Elizabeth Dee Gallery, Clamp Art and Participant Inc
in New York. Her Polaroid work is included in such collections
as The Polaroid Collection (Somerville, Massachusetts USA),
FotoMuseum (Winterthur, Switzerland), CGAC (Santiago,
Spain), the Fisher Collection (Florida, USA) and The New York
Public Library and featured in publications such as, The Polaroid
Book (Taschen Publication), There was a Sense of Family; The
Friends of Mark Morrisroe (Moderne KunstNürnberg), Mark
Dirt (Paper Chase Press), TABBOO! The Art of Stephen Tashjian
(D.A.P. Distributed Art Publishers, Inc.). Along with articles in
such newspapers and magazines such as The New York Times,
The Daily News, The New York Press, The New Yorker, Providence
Town Magazine, The Village Voice, and a soon to be released book
on her Polaroid art which will include an introduction by Rafael
Sánchez along with essays by Eileen Myles, Barbara Hitchcock
and Manuel Segade (to be published by The City University of
Rafael Sánchez, NJ apt, mixed, c-print, from
Polaroid, 1992, by G. Thacker New York Press).
CONRAD VENTUR | Atlantis
Collaborators Conrad Ventur and
Mario Montez were active between
2010 and 2013. Through various
photography and video experi-
ments, Ventur encouraged Montez
(Ridiculous Theatrical Company)
to return to performance, includ-
ing the live green screen piece, At-
lantis (2011). Montez passed away
in September 2013.
“Montez, born René Rivera
in Ponce, Puerto Rico, became
famous in the ’60s. Referred to
as the first “drag queen super-
star,” he acted in the films of
Andy Warhol and Jack Smith,
among others. In 1972 he starred
in Agripina é Roma-Manhattan,
an unfinished film by artist Hé-
lio Oiticica, and then Montez
seemingly vanished into thin air.
In fact, he had simply moved to Video grab, Atlantis, 2011, digital video, 1:42, by C. Ventur
Florida and retreated into private
life. Conrad Ventur came into Montez’s life in 2010, when Montez appeared at a symposium in New
York. Ventur was interested in the ’60s and had been working on restaging Warhol’s screen tests
with those actors who were still alive and willing to work with him. He met Montez, who had done
“Screen Test No. 2” with Warhol in 1965, and convinced the former superstar to participate in the
project.” – Courtesy of Hyperallergic
Conrad Ventur is a multi-media artist based in New York City. Screenings of Ventur’s work have in-
cluded The Andy Warhol Museum, C/O Berlin, MoMA, Participant Inc. and the Yerba Buena Center. A
volume of Ventur’s videos were recently acquired by The Whitney Museum of American Art. He is also a
recent Franklin Furnace Fund grantee. In addition to film/video projects, he chronicles his New York life
through photography and publication projects like Useless Magazine.
“Working within the media of photography and video, Conrad Ventur is interested in activat-
ing moving image archives, whether finding material online or looking at specific underground
film archives and repositioning them in exhibition formats. He often brings together pioneers of
living theater with a younger generation of performers in live and recorded environments. Ventur
is most known for his re-creation of Andy Warhol’s screen tests using the same central figures
from Warhol’s Factory studio.” – Courtesy of Participant Inc.