Autumn Space is pleased to present Brian Hubble’s first solo exhibition with the gallery. “Just Breathe Normally” is comprised of nine works that interweave themes of narrative, authorship, and the nature of the comedic in contemporary art.

More specifically, Hubble’s art plays upon the plausible through artifacts of narrative. Evidenced in the selection of titles, audio recordings, and other performative gestures, the viewer must shift between various descriptive devices to experience the particular story being conveyed. Humor is an entry point into several of the pieces, utilizing tactics such as the pun, pointing to lapses in our attention to language.

Questions of authorship underlie several pieces in the exhibition. Hubble critically engages the status of post-appropriation strategies in quoting artworks that defy documentation and within the gesture of appropriation itself. These works provoke the viewer to decipher the act of authorship as either a transfer or transformation of ownership, an operation that reveals that the criteria for the viewer, and perhaps the artist, may oscillate somewhere in between.

Brian Hubble (b. 1978 Newport News, Virginia) lives and works in Brooklyn, New York. His works have been exhibited internationally including group exhibitions in Canada and Hong Kong. Hubble completed his M.F.A. at The School of the Art Institute of Chicago in 2011 where he was the recipient of the William Merchant R. French Fellowship.

Each artist is presenting one artwork, each piece describes a process of pairing—intimate while disassociated, frozen and active. Combined, topics of symmetry, dependency, and balance arise.

Work by Patrick Bobilin, Nick Cueva, Matthew Cummings, Wyatt Grant, Anthony Lewis, Nicole Mazza, Chiara No, Stephanie Plenner, William Sieruta, Cait Stephens, Clare Torina, Allison Wade, Erin Washington and Travis Wyche.

John Neff will be performing, in print and process, on two dates during the exhibition: May 21st and 28th from 1—4pm. All interested parties are invited to attend.

Nazy’s ensemble of paintings/sculptural objects clue the audience into her obsessive doubt between having an idea or no idea. The work is a theatrical stage for a play of nothing.

Joe Mault is an artist.

Joe Mault’s work is sculptural.

It’s meant to wow, to have affect, to dazzle, to offend.

Joe’s materials are raw and caustic.

Joe’s materials are stilted linguistics.

This show will blind you.

This show will be hard to look at.

This show will be offensively clean.

This show will ask you to take a second look and reread the information provided.

There are hints of minimalism but form is overtaken by objecthood and sensory overload.

This show is a Jeanne Claude Venn Diagram of spectacle and stilted communication.

The work in this show explores language, communication, the cleanly and the corrosive. Using strong materials from fluorescent bulbs to bleach and plastic Joe’s work confounds concrete definition of purpose and creation while echoing familiar objects in form. In this show Joe plays with forms that vary from the apartment fixture to the minimalist object and even language itself.

Work by Diego Leclery and You-Ni Chae in the Bathroom Project Space.

Experienced as both optical and material, Malek’s paintings oscillate between the spatiality of science fiction and the defining methods of rule-based North American conceptualists. Situated firmly in the dialog of contemporary abstraction, geometric intentions and human execution provide a plane of particularity between the viewer and object.

For Henderson, the practice of painting functions as both a performance and a symbolic field, a daily activity through which to examine, dismantle, reconfigure and question the traditionally unique aura of self-expression. Engaging with multiple bodies of work simultaneously, his practice is more discursive than declarative. Henderson pushes the initial immediacy of his painterly investigations through processes associated with serial reproduction, framing expression as an open-ended question rather than a resolution. The resultant works can be read both as conceptual analysis and highly formal objects. These works present painting as a self-perpetuating system of visual signs in flux, where the activity of “the painter” occurs within and outside the surface of the painting simultaneously.

The Frugal Genius will include selections from three ongoing bodies of works—aluminum and bronze casts of paintings, modestly-scaled oil paintings, and photographs of painted-over photographs. A video of the artist mopping his studio floor will also be on view.

Between the moving, the sculptural and the visual, Andrews’ core ideas are footnoted by fundamental investigations of material, space, and the relationship between the body, object and image. The artist embraces conflicts that arise between those negotiations and conceptual orbits. The choice to highlight rather than sweep these issues under a rug, shapes work that lays bare a commanding and deliberate scale.

Each gallery aims to emphasize a facet of Andrews’ studio practice. Between the virtual and the actual, the material and the graphic, the artist continues to explore thoughts of practice, experience, and taste. The resulting exhibition is an exercise in the process of scrutinizing one’s self and practice, questioning whether content is located in the material or the manipulation of material.

In addition to this push-and-pull exhibition at the main showroom, Andrews will also be utilizing Golden’s auxiliary space to present the gallery’s largest sculpture to date. Paired with a largescale drawing, Andrews’ intuitive yet deliberate work continues to explore communications between output, software, and color.

Between the moving, the sculptural and the visual, Andrews’ core ideas are footnoted by fundamental investigations of material, space, and the relationship between the body, object and image. The artist embraces conflicts that arise between those negotiations and conceptual orbits. The choice to highlight rather than sweep these issues under a rug, shapes work that lays bare a commanding and deliberate scale.

Each gallery aims to emphasize a facet of Andrews’ studio practice. Between the virtual and the actual, the material and the graphic, the artist continues to explore thoughts of practice, experience, and taste. The resulting exhibition is an exercise in the process of scrutinizing one’s self and practice, questioning whether content is located in the material or the manipulation of material.

In addition to this push-and-pull exhibition at the main showroom, Andrews will also be utilizing Golden’s auxiliary space to present the gallery’s largest sculpture to date. Paired with a largescale drawing, Andrews’ intuitive yet deliberate work continues to explore communications between output, software, and color.

Work by Ceyda Aykan, Craig Butterworth, Nick Cueva, Brian Hubble, Adam Plaiss, Brenna Quinn, Leif Sandberg, Jenna Satterthwaite, Kyle Schlie, Shannon Schlie and Paul Wargaski.

Originating as meditations on tangible “artifacts” such as a book of drawings viewed through a glass clock or the space between figures in a fresco reproduction, the presence of a subject is subverted by a shift of focus to peripheral and immaterial information. Through this displacement of attention, a new image is constructed out of instances of paradox, incongruity and fracture within a visual field. The paintings are formed out of repeated acts and erasures; removals become an essential part of the image itself. Each painting proposes an iteration of a transitory icon in flux.

The debut of the space will have pieces available by Elijah Burgher, Evan Conley, The Franks, Alex Valentine, Kaylee Rae Wyant and others, as well as a photographic edition from Golden’s own Aspen Mays and a limited edition screenprint by Mike Andrews. Also, Lloyd Durling will feature a new drawing specifically created for the venue.

However, here, the system of communication established between artist, object and viewer relies on transient relationships between narrative, mark making, and meaning. Playing with color, pattern, form, and above all, texture, each drawing’s explicit narrative is replaced with geometric combinatory relationships; the pictorial becomes less about communicating a relationship between sign and signifier and focuses more on these paradoxes that occur within the aesthetic experience. For instance, in Doppelgänger, the duo of trees offer a visual rhythm to the piece, while their possible duplicative status may lead to questions about identity. Yet, we are never sure where the speculation with formal elements turns into meaning making except when placed inside the viewer’s hands. As a result, the communication offered is quite open.

Take for example the first piece that viewers encounter when they enter the gallery, It Wasn’t Night It Wasn’t Day. This video loop shows a screen door caught in a moment of perpetual dysfunction. When one normally encounters a door, it is closed, closing, open, or opening, yet this door satisfies none and all of these simultaneously. Creaking along, the action appears to be taking place at dusk, a moment that is neither day nor night. Schuh has created a perfect anomaly. This perpetuation of in-between creates a sense of repulsion that is peppered with moments of attraction, calling into mind questions of time and space. Time and space constantly weave in and out of Schuh’s train of thought. A sculptural gesture on display is a vertical stack of six 12 x 12 inch mirrors applied directly to the gallery wall. The artist’s use of a readily available package of mirror tiles draws attention to its materiality and reflective function. The piece delivers both the appearance of our body and the room surrounding it, reminding us of what we ultimately are: a unit defined by time and space.

This exhibition was conceived with total consideration of the space, both the objects created for it and the way that it will be navigated by viewers. In an effort to make use of the given architecture of the gallery in a more direct, confrontational way, the artist has turned the windowsills of the 1890s graystone that the gallery is housed in into actual seats from which to view the show. The entire show is being hung and placed from the vantage point of the windowsills. The red velvet cushioned stopping points become one single piece that traverses throughout the many rooms of the gallery. The artist states:

“The architecture of the space defines the possibilities of how viewers relate to this work. The works are not free of the walls, the floor, & the ceiling that surround them. Yet they are not possible without them. The gesture of this piece pushes back at the governing power of the architecture. Function is called into question; not only that of the windowsills, but the artwork as well, and our relationship to it.”

Schuh is also concerned with language and the role it plays in the acts of perception and understanding. This is evident in the sculpture End. A plaster copy of a domestic end table, the sculpture emblemizes language and our relationship to it, with particular regard to the process of naming. When something that is called “end” is reproduced in a material that would render it an impractical object, while maintaining the scale and form of the original, what kind of “end” is it? Is this gesture of re-making (without re-naming) in fact an ending or a beginning? The audience is left to consider a sculpture that references its source table through its physical presence, and all things “end” through its name, or title.

Ultimately Schuh’s exhibition creates the potential for experiences through the arrangement of objects and recorded events in space that invite the viewer to not only question what they understand about these things, but also the very nature of understanding.

Fraser will present eight newly framed works of gouache and acrylic paintings on polypropylene, a plastic paper that mimics the artists immaculately primed canvases. Frasers practice has recently taken an exciting turn; what was once a slow & painstaking painting process has evolved into a much more automatic approach. Described by the artist as “monuments to moments,” these compositions resonate immediate energy and resist strict, accurate, or logical measurements. They are the intuitive product of Frasers career as a painter and professor of color theory & studio art. These new works on paper are a part of a larger body of work that is occupied with an illogic (use) of color, which is further compounded with quickly executed imagery.

Intriguing color combinations, shapes, and patterns emerge out of Fraser’s immersion in the historicity of visual perception and comparative color theories. Simultaneously inspired by–yet rebellious against–graphs, pie charts, and color wheels, the artist uses these devices as source material for her work, as well as some recurring motifs she borrows from the world of design, like the stylized snowflake. The brilliantly colored geometric forms found in this series spontaneously explode onto the paper, revealing an unexpected turn from Fraser, but this new territory becomes quickly familiar because we soon realize that it is done with the same “anarchistic gusto” and reductive simplicity that only she is capable of achieving.

Cassanʼs flirtation with realism stems from his interest in classical sculpture and religious art. The illusionism that is at play here breaks down upon closer inspection, revealing the messiness of human creation. The imperfection and gesture of the artistʼs hand, as opposed mechanical fabrication, subtly addresses the idea of sculpting and making. Cassan’s work intensifies when he starts to break down the lines of straightforward representation. A crumpled paper towel and an artist-rendered bandage becomes a humble, yet delicately beautiful Pietà. Throughout all of his pieces, Cassan strives to validate his existence by embracing that which is beautiful, and by doing so he reveals a distinctly human attribute: frantically attempting to connect everything with greater spiritual meaning.