Sunday, February 20, 2011


179(twnR), detail, Ken Weathersby, 2010
click image to enlarge

Postconceptualism: the Malleable Object 
Opens March 10, 2011 at University of Maryland's Stamp Gallery

Artist panel-- March 17, 2011, 6pm.

Essay by Mark Cameron Boyd (excerpt):
"Postconceptualism: the Malleable Object explores the work of nine artists who individually extend and expand upon the theories and ideas of Conceptual Art in unique ways...

...Recent work by Ken Weathersby resurrects painting through a negotiation between the intellectual and physical properties of the support. Weathersby subverts the 'language of painting' through a three-dimensional manipulation that disrupts our perception by creating a 'no-space space.'..."

(full text here)

Friday, February 18, 2011

New Ark:

aferro studios, Newark, NJ

My studio at home has become something of a puzzle with many complicated moving parts--work in progress and tools and books take up an increasing amount of the space. 

Starting tomorrow, I'll be doing a residency at Aferro Studios in Newark, NJ.  The residency goes until August of 2011, so for the next six months, I'll see what it's like to work a little differently.  It will be the first time since my loft in Williamsburg in the 90's that I'll have a dedicated, work-only studio space of over 1,200 sq. feet.  The studio at Aferro should allow me to spread out and work on more projects at once, and on larger pieces.

Evonne Davis and Emma Wilcox run the program there, and they seem to have a good thing going, attracting interesting artists from all over.

Gallery Aferro

Aferro Studios Blog 

Sunday, February 6, 2011


sweet stain, oil, acrylic, pencil & ink on canvas, paper, wood & cashmere 
Bruce Stiglich
click image to enlarge


Bruce Stiglich’s “Accumulation/Hallucination” 
Kent Place Gallery Monday, February 14 – Friday,  March 11
closing reception 6—8 pm on Friday March 11.

Works in the show combine painting, drawing and the gathering of found objects to create complex, beautiful and densely painted collections of surfaces and images. 

“Sweet Stain” (above), uses a wide range of means, including oil paint, acrylic, graphite, ink, wood, and, crucially, cashmere.  A tiny scrap of stained cashmere formed the starting point of this complex work.  Stiglich painted a portrait of the scrap of fabric, enlarged and copied his own painting, represented it again in another way, again and again, and each new view became a part of the whole. The cluster of representations contains mirrorings and repetitions, but also surprises that open up space for the imagination.  It is a kaleidoscopic outgrowth of remembering and reflecting.  Yet the subject (if that shred of stained fabric is really the subject) remains enigmatic.

Such a ceaseless return to a mute and mysterious object, and the possibly obsessive circling around it with art, brings to mind Citizen Kane’s rosebud, Proust’s madeleine, that little scrap of blue velvet so prized by Frank in David Lynch’s film.  The point for me is that Stiglich creates an exciting, almost hallucinatory visual world, and the work resists collapsing into an easy interpretation.

New York Times art critic Ken Johnson has said, “Style in Bruce Stiglich's work is psychological, as the seemingly obsessive repetition of tiny marks that build up into dense vibrating textures suggest the feverishly compulsive activity of an inspired monomaniac. You may be reminded of Jackson Pollock's drip works or folk artists who are driven to decorate their homes with countless polka dots or flattened beer cans.”

Bruce says, “My work is a compiling of personal history.  I work in series.  These series become installations.  They span an extended period of time.  It begins with a discovery of found images, objects and doodles that to me seem incomplete.  The process of completing the images is self referential in nature.”

Bruce Stiglich’s art work has been seen in numerous exhibitions in recent years in New York City and the New York area, in Pennsylvania, and in Miami, Florida.  He currently teaches at Parsons School of Design, and has also taught at Pont-Aven School of Art in France, and at the State University of New York.  He has been a curator of several art exhibitions at MyPAC, in Miami, FL.

Kent Place Gallery
42 Norwood Ave.
Summit, NJ 07902

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Friday, February 4, 2011

As if:

layovers to catch meddlers, process drawing, digital, 2-3-2011
Ken Weathersby
click image to enlarge