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Cherry and Martin: Nathan Mabry: gripgrabstacksqueeze | Adam Silverman: Body Language - 2 Apr 2016 to 14 May 2016

Current Exhibition


2 Apr 2016 to 14 May 2016
Hours: Wednesday - Saturday 11am - 6pm or by appt
Cherry and Martin
2712 S. La Cienega Blvd
2732 S. La Cienega Blvd
CA 90034
Los Angeles, CA
California
North America
T: +1 310.559.0100
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W: www.cherryandmartin.com











Nathan Mabry
gripgrabstacksqueeze
April 2 - May 14, 2016
12


Artists in this exhibition: Nathan Mabry, Adam Silverman


Nathan Mabry
gripgrabstacksqueeze

April 2 - May 14, 2016 | 2712 S. La Cienega Blvd.
Opening reception: Saturday, April 2, 6-8pm

Cherry and Martin is proud to present Nathan Mabry’s fifth solo exhibition at the gallery. The exhibition will include new drawings and two new bodies of sculptural work: Late One Night and Low Hanging Fruit.


For over a decade, Nathan Mabry has explored the power of transformation. His sculptures and drawings are sites for energetic formal and intellectual reinvention. Mabry writes, “I've always been fascinated by the power of the object, and how it relates to personal and collective experiences.” In Mabry’s work, objects—be they art historical or pop cultural—are transformed. In playing with the look and feel of these objects, how we relate to them and how they relate to each other, Mabry reinvents their meaning—and thus their power.

The works in the exhibition draw from pop cultural history, American and European Modernism, and global ceramic traditions. In these works, Mabry investigates the relation between high-art and low-art; between western art and so-called ‘ethnographic’ art; and the various complications inherent in the handmade, the remade, the found and the fabricated. Nathan Mabry’s new works allow for a shifting space between individualism and pre-determination that is perhaps the truest expression of the modern American condition. Mabry has long been interested in individual artistic agency, but for Mabry, exploring the relationship between the artist, the work, the viewer and art historical precedents is a deliberate approach that provides an interplay of iconic association and idiosyncratic vision.

The works in Mabry’s new Late One Night series draw from the ideals of mid-century abstract steel sculpture. In the Late One Night works, Mabry explores the aesthetic tropes of a certain conformist vision that occurs in American and European sculpture in the early 60s. Stainless steel cast gloves, cans and a shop bucket are placed in dialog with sheets of “junkyard” metal. A ruin-like landscape presents an amalgamation of ritualistic performance—are we seeing studio process?—that is at the same time an investigation of historical stylized uses of found material. Mabry’s works have the mystical presence of shadows—or works made in the shadows—offering cryptic forms that reveal themselves through prolonged looking. They are at once fragile and impermanent, but made with an authority and skill that defies gravity. Totemic and familiarly monumental, Mabry’s Late One Night objects work in a referential network of association where the authoritarian rule collapses. Mabry writes, “Things are just things…or are they?”

Low Hanging Fruit is the second body of sculptural work included in Mabry’s show. These works are incorporated into a kind of quasi-landscape or in-flux temple. Made from casts of various animals, fruit, plants and detritus, and painted in tones of red, the pieces in the Low Hanging Fruit group are mysterious and mystical signifiers. These obscure “collages” or trans-historical exchanges are a nod to the grand moments and movements within art objects—a meta-reference to metaphors about culture that are undefinable, reference the historical, and synthesize an emotional, organic sense of humanity.

Nathan Mabry received his BFA from the Kansas City Art Institute and his MFA from the University of California, Los Angeles. Mabry’s work has been the focus of important exhibitions, including his solo exhibition at the Nasher Sculpture Center (Dallas, TX); Thing: New Sculpture from Los Angeles (Hammer Museum, Los Angeles, CA); Red Eye: Los Angeles Artists from the Rubell Family Collection (Rubell Family Collection, Miami, FL); and Thief Among Thieves (Museum of Contemporary Art, Denver, CO). Mabry’s work is included in the collections of the Hammer Museum (Los Angeles, CA); Los Angeles County Museum of Art (Los Angeles, CA); Orange County Museum of Art (Newport Beach, CA); Museum of Contemporary Art (San Diego, CA); Phoenix Museum of Art (Phoenix; AZ); Dallas Museum of Art (Dallas, TX); Nasher Sculpture Center (Dallas, TX); Nelson-Atkins Museum of Art (Kansas City, MO); Whitney Museum of American Art (New York, NY). Private collections include 176 / Zabludowicz Collection (London, UK); The Rubell Family Collection, (Miami, FL); and Vanhaerents Art Museum (Brussels, Belgium). Mabry’s work has been the subject of reviews and articles in such domestic and international publications as Art in America, Art Forum, Art + Auction, Frieze, Modern Painters, The Art Newspaper, Los Angeles Times, and The New York Times. Mabry lives and works in Los Angeles.

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Adam Silverman
Body Language


March 19 - May 14, 2016 | 2732 S. La Cienega Blvd.
Opening reception: Saturday, March 19, 6-8pm 

Cherry and Martin is pleased to present, Body Language, Adam Silverman’s first solo project at the gallery. The Los Angeles based Silverman’s ceramic works recently appeared in the group exhibition, Try again. Fail again. Fail Better, at Cherry and Martin. His work has been the subject of recent solo exhibitions at the Nasher Sculpture Center (Dallas, TX); Kimbell Art Museum (Ft. Worth, TX); Laguna Art Museum (Laguna Beach, CA); and Tomio Koyama Gallery (Tokyo, Japan).

Adam Silverman is an artist with a long-standing interest in architecture and dance. His work begins on the potter’s wheel, in an age-old process of speed, pressure and gravity - a kind of math in motion. The result is elemental geometric forms that combine technical and formal precision with chance. Silverman fires and re-fires his work many times, building up their beautiful and richly tactile glazed surfaces. His resulting works - organized singly or in groups - reflect Silverman’s commitment to the complexities of sculpture, and place his work firmly in both the present and in the 10,000 year old history of people making art out of clay.

Adam Silverman received his BFA and B.Arch from the Rhode Island School of Design. Silverman’s work has been the subject of recent solo and group exhibitions at such museums and galleries as Cherry and Martin (Los Angeles, CA); Salon 94 (New York, NY); Kimbell Art Museum (Fort Worth, TX); Laguna Art Museum (Laguna Beach, CA); Tomio Koyama Gallery (Tokyo, Japan). Silverman’s two-person installation, Boolean Valley, a collaboration with Nader Tehrani, travelled from San Jose Museum of Art (San Jose, CA) to MOCA (Los Angeles, CA) to the Nasher Sculpture Center (Dallas, TX). Silverman's work is in the collection of such museums as the Los Angeles County Museum of Art (Los Angeles, CA); Nasher Sculpture Center (Dallas, TX); and Rhode Island School of Design Museum (Providence, RI). A major monograph on Silverman’s work, Adam Silverman Ceramics (2013) was publish by Rizzoli. His work has been the subject of articles and reviews in Artforum, Wallpaper, Architectural Digest, New York Times and Los Angeles Times.

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Cherry and Martin is open Tuesday - Saturday from 10am-6pm and by appointment. The 2732 space is open Tuesday - Saturday from 11am-5pm and by appointment. For images and additional information, please contact info@cherryandmartin.com or call 310 559-0100.


Cherry and Martin






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