Jim Adams
Alexandria Smith
a voluntary delusion, 2019
Acrylic, oil, and oil stick on panel
30 x 30 in.
Alexandria Smith
go awn and tell it, 2019
Pencil, pen, and marker on paper
11 x 14 in.
Alexandria Smith
do you see what I see?, 2019
Pencil, pen, and marker on paper
15 x 11 in.
Peter Williams
Incarderation, New Nation!, 2019
Oil-based enamel, oil, and graphite on canvas
72 x 144 in.
Liz Collins
Royal Embrace, 2019
Acrylic on canvas, pvc yarns
30 x 78 x 1.5 in.
Zackary Drucker & Rhys Ernst
Relationship, #35 (Pygmalion), 2008-2014
Digital c-print
24 x 36 in.
Zackary Drucker & Rhys Ernst
Relationship, #44 (Flawless Through The Mirror), 2008-2014
Digital C-print
20 x 30 in.
Erik Olson
Jack of Hearts, 2018
Oil on canvas
60 x 48 in.
Erik Olson
The Hobo, 2018
Oil and oil stick on wood
39 x 16 x 8 in.
Edie Beaucage
Digby, 2019
Oil on canvas
24 x 20 in.
Edie Beaucage
Finnegan, 2019
Oil on canvas
24 x 20 in.
Edie Beaucage
Louis, 2019
Oil on canvas
24 x 20 in.
Josh Reames
Sapien, 2018
Acrylic, oil, and celluclay on canvas
107 x 72 in.
Kate Bonner
Clouding lens, 2019
Digital pigment print, adhesive fabric, and acrylic panel
40 x 30 in.
Kate Bonner
Motion blur, 2019
Digital pigment print, adhesive fabric, and acrylic panel
40 x 30 in.
Caitlin Cherry
Miasma, 2019
Oil on canvas
56 x 101 in.
Dennis Koch
Untitled (Versor Parallel, Wine Dark Sea), 2019
Color pencil on paper
35.75 x 35.75 in.
Dennis Koch
Untitled (Versor Parallel), 2019
Color pencil on paper
35.75 x 35.75 in.
Dennis Koch
Untitled (Versor Parallel), 2019
Color pencil on paper
35.75 x 35.75 in. | 42 x 42 framed
Dennis Koch
Untitled (Versor Parallel), 2019
Color pencil on paper
35.75 x 35.75 in. | 42 x 42 framed
Jim Adams
Nubian Express #4, 2000
Acrylic on board
8 x 10 in.
Jim Adams
Nubian Express #1, 1999
Acrylic on board
4 x 6 in.
Jim Adams
Nubian Express #3, 2000
Acrylic on board
8 x 10 in.
Jim Adams
Nubian Express (Full Moon), 2000
Acrylic on board
4 x 6 in.
Hugo Crosthwaite
Tijuanaria #40, 2011
Ink and ink wash on Canson paper
8.5 x 5.5 in
Hugo Crosthwaite
Tijuanerias, #3, 2011
Ink, ink wash, graphite, and correction fluid on Canson paper
8.5 x 5.5 in.
Hugo Crosthwaite
Tijuanaria #34, 2011
Ink and ink wash on Canson paper
8.5 x 5.5 in
Hugo Crosthwaite
Tijuanaria #87, 2011
Ink and ink wash on Canson paper
8.5 x 5.5 in
Margie Livingston
Day Hike: Rocky Washington Beach, 2018
Gouache and acrylic on panel, hardware, canvas, polyester strapping, and thread
65 x 28 x 10 in.
Day Hike: Mt. Walker, 2018
Gouache and acrylic on panel, hardware, canvas, polyester strapping, and thread
65 x 28 x 10 in.
I've got a good mind to give up living and go shopping instead takes its name from the 1968 blues song by B.B. King, which deals with the heartbreak that comes from a broken relationship, that moment of surprise and shock and of finality:
I read your letter this morning that was in your place in bed
And that's when I decided that I would be better off dead
The sentiment begins as an irreverent proclamation but turns darker as King reveals he would shop in order "to pick up me a tombstone and be pronounced dead." Desperation, of course, has a way of
distorting things and making them appear in extreme terms, yet the reality is often quite different. The artists in this exhibition explore ideas about relationships that aren't necessarily what they appear to be. Where does the line between truth and reality lie? Interpretation, much like break-ups, can be a constantly negotiated battle between parties. Some things can be read one way and understood in a completely different manner, or perhaps the fluidity of a thing—gender, for example—makes expansive truths and multiple realities possible. Interpretations that seem to embody opposing or contradictory positions often inspire a level of empathy, communication, and creativity that may transform a situation, making it ultimately more relatable and moving.
