Black and White, and Re(a)d All Over: Part II
Sept 16 – Oct 16, 2016
co-curated by Peter Hopkins and Janet Goleas
Friday, September 16th | 6-9PM
ArtHelix is pleased to announce a group exhibition to launch our Fall 2016 calendar. Black and White, and Re(a)d All Over: Part II features work in various media by Angela Strassheim, Royce Weatherly, Don Hamerman, Michael David, Michael A. Robinson, Gareb Shamus, Douglas Degges, Bonnie Rychlak, Peter Hopkins, Charles Clough, Michael McKeown, Saul Ostrow, Curtis Andrews, Brian Gaman, Julie Langsam, George Horner, Elizabeth Saveri, Bob Seng, Karen Hesse Flatow, Judy Richardson, MiHyun Kang, Jeanne Silverthorne, Maria Scrivan, and Maria Kreyn.
Black and White, and Re(a)d All Over: Part II is the second iteration of an exhibition first held at The Bogart Salon in Bushwick in 2012, based on a simple concept of a show limited to artworks that are black, white, and/or red.
The exhibition title plays on the old joke: “What’s black and white and re(a)d all over?…a newspaper.” The idea is that while the works here have no actual formal connection beyond a shared color scheme, they nonetheless can be “read all over”. This presents a way of re-thinking the “curated” exhibition -which usually relies on formal similarities- as a text or newspaper wherein each “article” or artwork is a separate entity to be read singularly, only held together by the group show format and gallery space itself.
The show is then like a newspaper, full of content, with many different artists all addressing a range of subjects through the simple formal restriction of color. Using the large connected warehouse space of ArtHelix, with its several attached “rooms,” allows the exhibition to be both broad and open, and precise at the same time. The omnibus approach of this show is a way to escape the exhaustion of the overly curated “theme” show. With that now hackneyed concept of groupings of artists clustered around some barely recognizable conceptual “theme”. Here, the artworks are not related in any systematic way, and this is made clear from the outset. Freeing the artworks to be seen individually, but within the limited range of black, white, and red, prevents this show from otherwise becoming a visual “mess”. From a cartoon to a conceptual sculpture, from a realistic photograph to a magazine, the art is left for the viewer to read and decide upon its value.