MFA Alum Lee Arnold and Mark Brosseau, Curated by Kelsey Halliday Johnson at Tiger Strikes Asteroid


"Walking an exciting new line in two-dimensional practice, Brosseau is a painter who has updated his studio tools to include a digital tablet as a new drawing device for ideas and compositions; on view will be a larger-scale painting “Tacky”, a series of small panel paintings, and a framed tablet with a slideshow of recent digital drawings. Using various layers that are sandwiched together in his works or collided against one another in painterly space, Brosseau makes investigations into the psychological and emotional spaces of abstraction. By constructing his work in a graphic but physical way through gesture, color, and drawing-based techniques, he creates foreign formal spaces and forms that birth a new world. Here questions of relationships, humor, identity, and environment are raised – pointing to the elements of our human experience with the world around us that are perhaps best summarized outside of concrete language."

Trawick Bouscaren in Three Shows

Opened Saturday March 26th:
A two-person installation collaboration with John Schlesinger
  Fort Nights: Neon Robot Iceberg
  in the Firehouse at the Fort Mason Center for Arts & Culture

Opening Friday April 1:
A two-person installation collaboration with Jeremy Morgan

Opening Thursday April 7:
A group show of UCSC current Art Department faculty
  In Conversation


Jayson Musson opening at Fleisher/Ollman April 1st

Jayson Musson:
The Truth in the Song
April 1 - May 28, 2016
Reception: Friday, April 1, 6-8pm
Working in a variety of media including video, painting, textiles, music, and performance, Brooklyn-based artist Jayson Musson returns to Fleisher/Ollman for his first solo exhibition at the gallery in three years. Musson will present a new series of Coogi sweater paintings, exploring the in-between spaces of high art versus craft, intentional versus found abstraction, and, most significantly, the notion of ownership of African-American popular culture. These works are not paintings at all, but recycled Coogi sweaters—wildly-colored knit garments—mounted on stretchers and transformed into pictures.
For Musson, Coogi sweaters are more about African-­American nostalgia and cultural memory than homage to Notorious B.I.G. or a commercial garment brand. Coogi, long regarded as a status symbol within the African-American Hip-Hop community, has always been a white-­owned company, first by Australians and then by Americans, and functions as yet another instance of the white power structure profiting off of the perceived desires of people of color. According to Musson:
This, in effect, operates as a form of colonization over another corner of Black memory, and any reverence these garments received, at least in my opinion, is highly undeserved. I come to the Coogi material as a junk collector of sorts. I consider the sweaters ‘cultural detritus’—just another commodity on a long list of objects many people are manipulated into coveting or consuming...ultimately, this work is about a form of existential disconnection, that even as one retreats into memory in order to counteract the trauma of the present, even these memories are occupied by our enemy. Thus, the alienation of the self is continued even further.
Jayson Musson has had solo exhibitions at Salon 94, New York; Fleisher/Ollman, Pennsylvania Academy of the Fine Arts, Marginal Utility, and Space 1026, all in Philadelphia; and Dazed & Confused Magazine Gallery, London. Musson and Alex Da Corte collaborated on an exhibition at the Institute of Contemporary Art, Philadelphia, entitled Easternsports, in 2014. Musson has been featured in numerous group exhibitions at venues including Contemporary Arts Museum, Houston; Grey Art Gallery, NYU, New York; Galerie Perrotin, Paris, France; Postmasters, New York; Institute of Contemporary Art, Philadelphia; West Galeria, Den Haag, The Netherlands; Grimmuseum, Berlin, Germany; Fleisher/Ollman, Philadelphia; Hyde Park Art Center, Chicago; Yerba Buena Center for the Arts, San Francisco; and Cincinnati Contemporary Art Center, Ohio, among others. Musson received his BFA from the University of the Arts, Philadelphia in 2002 and his MFA from the University of Pennsylvania in 2011. He attended the Skowhegan School of Painting and Sculpture in 2011.

Paige Adair featured in 2016 Slingshot Festival

As part of the SLINGSHOT Festival, The Lyndon House Arts Center is pleased to exhibit a large scale video installation and projection by Paige Adair, entitled Daughter of the Cave.
On view from March 31 - May 7, 2016

Daughter of the Cave explores an underground wanderlust, investigating how we use stories to make explicable the mysteries of our own bodies and the real/imagined spaces we traverse with them. This piece depicts the female protagonist’s explorations through the labyrinthine dreamscape of an imaginary cave. This subterranean feminist saga uses documentary video from Ruby Falls, paintings of the cave, and visual materials research. Musician, Mason Brown composed the score for the video by sculpting together a soundtrack by using exclusively documentary audio recordings gathered during Speleogen’s excursion to Mammoth Cave National Park. Speleogen is the caving branch of artist collective Callosum, an Atlanta-based creative collective that applies methods across media to explore the intersections between art, technology, and the senses.

Paige Adair lives and works in the Atlanta area. She received her MFA in Time Based Media and Painting from the University of Pennsylvania and has been exhibiting throughout the US.

This year, the SLINGSHOT Festival takes over downtown Athens, Georgia March 31 – April 2 2015. Spread over 5 city blocks and dozens of venues, SLINGSHOT spotlights international, national, and local acts on stage, boundary pushing artworks throughout the urban environment, and tech talks with leading innovators. SLINGSHOT also hosts a dedicated comedy night and film screenings. For more information and a schedule of events, visit slingshotathens.com

Daughter of the Cave viewing during regular open hours in the West Gallery.