Lynn Tomaszewski: Phenomenal Agglomerative

Lynn Tomaszewski: Phenomenal Agglomerative

Raw vs. Cooked: a group show

November 21 to January 10, 2015
Opening Reception: Nov. 21, 6 to 8 p.m.

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Lynn Tomaszewski, Complex 4, 12 x 12 in., acrylic on panel, 2014.

Portrait Society Gallery, Milwaukee, is pleased to announce two new exhibitions. Phenomenal Agglomerative by Lynn Tomaszewski and a group show, Raw vs Cooked, will  run through January 10, 2015.

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Lynn Tomaszewski, Complex 10, 24 x 24 in., acrylic on panel, 2014.

Lynn Tomaszewski (b. 1967) was Chair of Foundations at the Milwaukee Institute of Art and Design until 2014 when she became Associate Dean of Graduate Studies at the School of the Art Institute of Chicago.

Her conceptually driven art often explores the relationship between perception and ideas. This new body of work features a series of luscious, visceral paintings. Tomaszewski is interested in the processes of accumulation, growth and learning: how marks build up and form patterns over time. From hives to swarms to various growth algorithms, relationships and social orders emerge. These paintings, created painstakingly from innumerable individual gestures, grow into active optical fields — shimmering, unstable, vibrating.

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Lynn Tomaszewski, Complex 5, 24 x 24 in., acrylic on board, 2014.

Tomaszewski’s mark making follows sets of rules, such as “all paintings begin with a flat field of one or more colors.” Each drawing also begins with one circle. All subsequent circles need to touch all others. All circles are then filled intuitively with color. The goal, says Tomaszewski, is a painting where there is no hierarchy. All of the colors demand equal attention or there is a shifting hierarchy, where each time you look at the painting, a different color might dominate.

BubbleComplexWhen the paintings are complete, they become active visual fields, almost alive in their optic states. The process of viewing the paintings creates a sensory exchange of perception and data, a vitally energized and communicative engagement with the viewer. One stands in front of each painting and the dynamic of how we process and receive information, our limited human means of reception, becomes more apparent.

Tomaszewski has said that: “Another concern in the work is how the legacy of minimalism can fuse with our image-laden, information-driven reality to articulate both the ‘little picture’ of the individual and the ‘big picture’ of the entire complex of life.”

RAW VS. COOKED

A HOLIDAY GROUP SHOW

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Zach Hill (in RAW), Cubby Hole2 Series, mixed media, 6 x 4 in., 2014. $50 each.

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Linda Wervey Vitamvas, porcelain, STIRRED.

As a nod to the upcoming holiday season, Portrait Society will also present Raw vs Cooked, a group exhibition with all of the work priced under $500. Raw vs. Cooked asked five different artists or curators to each take on a food related word and assemble a body of work that relates in some way to the word. Participants include: Shane Walsh (artist) FROZEN; Lynne Shumow (Haggerty Museum of Art) RAW; Colin Matthes and Makeal Flammini (artists) BAKED; Trent Miller (Madison Public Library Program Coordinator/artist) FRIED; and the art collective Gnaw STIRRED.

Please contact Debra Brehmer at Portrait Society Gallery, 207 E. Buffalo Street, Fifth Floor, Milwaukee, for additional information. portraitsocietygallery@gmail.com, 414 870-9930.

Janet Werner and Ariana Huggett

Portrait Society Gallery, 207 E. Buffalo Street, Fifth Floor, Marshall Building, Milwaukee, 414-870-9930,  portraitsocietygallery.com, Thursday-Saturday noon to 5 p.m.

Janet Werner and Ariana Huggett

Introducing: Elly Hazard, Project Space

Friday, September 26 through November 15, 2014 

Opening Reception: 6 to 9 p.m. Friday, September 26, 2014.

Gallery Night: October 17

Links:

Exhibition Review: Kat Murrell, Urban Dial

Video of recent Janet Werner retrospective, University of Saskatchewan

 lecture by Janet Werner, Concordia University

 interview with Janet Werner, Canadian Art magazine

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Janet Werner, Paris (Blue) 45 x 54 in., oil on canvas, 2010.

Canadian artist Janet Werner and Milwaukee painter Ariana Huggett open the fall season at Portrait Society Gallery.

Janet Werner (b. 1959) is well-known internationally, however she has shown her work less frequently in the United States.  Portrait Society is honored to bring her work to the midwest. Gallery Director Debra Brehmer had discovered Janet Werner’s work at an art fair five years ago, purchased her book, “Too Much Happiness,” and found herself returning to the images repeatedly.

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Janet Werner, Crying Girl, 31 x 24 in., oil on canvas, 2010.

Werner, a professor at Concordia University in Montreal, earned her MFA at Yale in 1987. Werner’s work focuses on the fictional portrait as a vehicle to explore subjectivity and desire, especially involving femininity. Her paintings operate within and against the genre of conventional portraiture, taking found images of anonymous figures in popular culture and imbuing them with fictional personalities.

Lately, Janet Werner’s work has veered further from representational sources and has become more distorted, mannered, expressive, exaggerated, mangled. Figures stretch and morph into masks and deformities that almost humorously address the continuous bruising of the human condition. And yet, the history of grand portraiture, via John Singer Sargent, van Dyck, or Velazquez, never fully departs. The artist has said, “With me there is always this argument between pretty and its destruction. I have a complicated knot of things around the question of beauty.”

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Ariana Huggett, Birds and Masks, 6 x 8 in., oil on wood, 2014.

Ariana Huggett (b. 1965) has shifted her interests from patterned abstraction to representational paintings of home interiors. Her exhibition at Portrait Society, “Everyday Spaces,” includes 20 small-scale oil paintings done on-site, over a period of days. Each painting of an interior holds a mood and time of day as well as a sense of the artist’s selective vantage point. The view she chooses to paint is often determined by what provides an interesting formal composition. The framing of ‘place’ is then balanced between the emotional resonance of its intimacy and the concerns related to light, pattern, shape and color.

In the early 20th century, French artists such as Pierre Bonnard and Edouard Vuillard also turned to the domestic interior as subject. Without human figures in the compositions, it was the afterglow of the things and the comfort of the settings that left traces of private lives.

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Ariana Huggett, View from Entry, 10 x 8 in., oil on wood, 2014.

As part of this body of work, Ariana has accepted advanced commissions. Those paintings will also be included in the exhibition. She is also available for future commissions that can be booked through the gallery.

Ariana Huggett, cottage

Ariana Huggett, Cottage, 2014.

Ariana Huggett earned her BFA from the School of the Art Institute of Chicago in 1987 and her MFA from the University of Wisconsin-Milwaukee in 1994. She last showed her work at Portrait Society in 2009. For additional images, click here. 

In addition to these two parallel exhibitions, Portrait Society’s Project Space, an intimate exhibition venue in the hallway between the gallery and its office, will present “Elly Hazard: One.”

Elly Hazard, Too Tight

Elly Hazard, Too Tight, 40 x 40 inches, oil on canvas, 2014.

Elly Hazard, Mask

Elly Hazard, Show me with your eyes, 28 x 36 inches, oil on canvas, 2014.

This is an exhibition of paintings created since the artist graduated from the Milwaukee Institute of Art and Design in the spring of 2014. Hazard translates the immediacy of drawing and doodling into lively, colorful oil paintings that often feature a female figure but refer more broadly to general moods and states of being. Patterns create action and energy from which colorful dramas charm and entice with their messy exuberance.

Portrait Society’s Project Space is dedicated to experimental projects and emerging voices.

For additional information and images, contact Debra Brehmer, Portrait Society Gallery, portraitsocietygallery@gmail.com, 414 870-9930.

Summer art orgy

Romano Johnson and Skully Gustafson

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Opening Reception: Friday, July 18, 2014, 6 to 9 p.m.

Gallery Night: July 25, 6 to 9 p.m.

Review and video

Romano Johnson, Silver Art Bible and Skully Gustafson, The Juice, will open with a reception from 6 to 9 p.m. on Friday, July 18 at Portrait Society Gallery. The shows run through September 13.

Portrait Society is located in Milwaukee’s Historic Third Ward at 207 E. Buffalo Street, FIFTH Floor, Marshall Building. It is one of the city’s most progressive contemporary art spaces. Hours are Thursday to Saturday, noon to 5 p.m. Call 414 870-9930 for information.

Both Romano Johnson and Skully Gustafson bring performative qualities to their paintings and their lives. The artists expand

Romano Johnson, 48 x 60 in., (purple angel)the boundaries of their practices by turning themselves into works of art. By painting his clothes and shaving patterns into his hair, Romano Johnson visually blends with his glitter-induced paintings of super stars, motorcycles and imagined places. Skully, in collaboration with his partner Erik Moore, dresses (and undresses) in layered collages of fabric, fishnet and silk, often using studio installations as sets for performances and photo shoots.

romano johnson, hair design

Romano Johnson, hair design.

Romano Johnson will show a suite of new large-scale paintings of Michael Jackson, Tina Turner and Prince, as well as several drawings. Portrait Society first introduced his work in a group show last summer. Johnson, 35, moved from Chicago to Madison at aged 12, which is when he started making art. “Mano,” as friends call him, works out of the non-profit studio in Madison called Artworking, Inc. 

Johnson says of his work, “I want people to see happiness and joy for all families when they look at my work. When I draw a face, I want the viewer to feel a happiness that makes them want to clap their hands for all the faces in the world.”

get-attachment-4Skully Gustafson’s exhibition, The Juice, will transform the white box of the gallery into a Pee Wee Herman meets Jean-Michel Basquiat meets My Little Pony fantasy land of art-making. Paintings, collages, objects, ‘blobs,’ costumes, videos and, most likely, a live performance or two will mark Skully’s summer occupancy at Portrait Society.

Gustafson says of this project: “The Juice installation is a room that is a full blown art orgy.  The entire space is important and treated equal to the creatures within it, as well as the vessel that channels the information from the source, myself.  I see myself in relation to The Juice land as an anthropomorphic entity.  I am the physical maker skully Gustafson get-attachment-1and model of it and am integrated into it as a mythical creature. Archeologist within the archeology.  I am studying this foreign land and unveiling artifacts within.  It’s a psychic and organic process of digging into the grime of creation and pulling out evidence.”

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Erik Moore, from Half Human, 2014.

Gustafson’s partner and collaborator, the photographer Erik Moore, will concurrently show portraits of Skully in these created environments as well as a body of black and white images, “Half Human,” in The Lounge.

For additional information, please call Gallery Director Debra

Brehmer at 414 870-9930, or email portraitsocietygallery@gmail.com.

The gallery is open Thursday through Saturday from noon to 5 p.m. and by appointment.

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Keith Nelson: Arrangements

Keith Nelson, floor pieceArrangements: Keith Nelson

Guest Composers: Peter Barrickman, Paul Druecke (Chuck Stebelton), Shelleen Greene (Nirmal Raja), Greg Klassen, Bruce Knackert , Michael Mikulay, Jen Price, Graeme Reid, Marla Sanvick, Amanda Tollefson, Shane Walsh (Sean Heiser, Sean Weber)

Rural Utopia: Watercolors from Blotchy Blobs Blog by J. Shimon

Fop and Hounds, Thursday May 29, 5:30 to 7:30 p.m. Hosted by UWM Theatre Department’s Rebecca Holderness and her dog Asher. Discussion of Keith Nelson’s Arrangements exhibition. Free. Contributions appreciated.

Opening Gallery Night, April 25, 2014. Reception 5 to 9 p.m.

Running through July 5, 2014.

Gallery hours/location: Thursday through Saturday, noon to 5 p.m. and by appointment (414) 870-9930. 207 E. Buffalo Street, Marshall Building, Historic Third Ward, FIFTH Floor.

Press: Mary Louise Schumacher, Journal/Sentinel, Kat Murrell, Third Coast Daily, Shepherd Express video review

Web 1Portrait Society is pleased to present an exhibition of object-based collages by Milwaukee artist Keith Nelson. Arrangements features various iterations of Nelson’s long-term investigation of found materials and their relationships once assembled as compositions.

With a preference for surface pattern and texture as well as minimalist shapes, Nelson gathers wood planks, tiles, toilet tank tops, metal plates and panels of linoleum from which he orchestrates linear, layered compositions. Like the Italian artist Morandi, who was fascinated with the tonal rhythms of staged vases and jars in his paintings, Nelson works with a formal vocabulary of shape, color and pattern as he builds works that are equally painterly and sculptural.

Keith Nelson, shelf, pinkHe arranges these objects on shelves and also on walls as diptychs. Most recently, he has been making freestanding forms. Nelson refers to his work as “object-based collages.”

This idea of the shelf as a stage or “platform” is being generously expanded in a related exhibition called Guest Composers. Nelson invited eleven individuals (artists, curators, a historian, art preparators and an academic) to participate in his exhibition by curating a shelf. The participants were invited to show their own work or select someone else to occupy their shelf, thus passing the baton of authority over his/her own exhibition and opening it to potential widespread and unedited involvement. While Nelson’s work is succinct, controlled and poised, the Guest Composers will undoubtedly use their curatorial stages in digressive manners.

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Chuck Stebelton, via Paul Druecke, five years of receipts from Woodland Pattern Bookstore.

Participants include: Peter Barrickman, Paul Druecke (Chuck Stebelton), Shelleen Greene (Nirmal Raja), Greg Klassen, Bruce Knackert, Michael Mikulay, Jen Price, Graeme Reid, Marla Sanvick, Amanda Tollefson, Shane Walsh (Sean Heiser, Sean Weber).

The arranging of things in our lives — be it shoes, book shelves, coffee tables, desk tops, pillows or platters of food — is a constant. Even something as minute as the placement of the soap dish, or the means by which one folds and stores dishtowels, becomes a curatorial act of selection, placement and ordering. Rather than what is on the shelves, this show heightens thinking around how it got there and what that means.

Truth and Beauty in the Ravine 2012In the third gallery, J. Shimon’s beloved watercolor series Rural Utopia from his Blotchy Blob Blog will collectively tell tales of art making, gardening and existing in the Midwestern landscape. A selection of nearly 100 watercolors will be displayed amid homemade planters crafted from acoustic guitar bodies and filled with herb seedlings. It’s spring, after all. Only in these intimate paintings does contemporary art discourse meet gardening implements. Nude figures, representing an idyllic Eden-like fantasy world loosely based on observation, go about making sculptures and music, deconstructing Wisconsin tourist sites, and growing vegetables as commentary on capitalism and contemporary art, in a sweetly humble honoring of the ordinary.

A machine that makes clouds you can touch

J. Shimon, A machine that makes clouds you can touch, 2014, watercolor.

This body of work was recently included in the exhibition “J. Shimon & J. Lindemann: We Go From Where We Know” at the John Michael Kohler Arts Center in Sheboygan, Wisconsin, and has enjoyed a large following on the http://blotchyblobsblog.blogspot.com/.

For additional information about these exhibitions, please contact Debra Brehmer at portraitsocietygallery@gmail.com or call 414 870-9930.  

 

 

 

23 Pineapples

001_23 Pineapples_Emma HartvigOpening Reception: Friday, April 4th, 6-9pm, Project Space

Exhibition runs through April 15th, 2014

Gallery Hours: Thursday-Saturday, 12-5 pm or by appointment

Portrait Society Gallery is pleased to present the work of 23 photographers in a charitable exhibition, 23 Pineapples, curated by recent Milwaukee Institute of Art & Design graduate, Grant Gill. The exhibition celebrates the tropical plant in all of its prospects by exploring concepts of color, design, humor and play within in the confines of contemporary photography.

An opening reception will be held April 4th, from 6-9 pm at Portrait Society Gallery (207 East Buffalo Street, Marshall Building, FIFTH Floor). On display will be the work of: Corey Bartle-Sanderson, Tara Bogart, Sara Clarken, Brock Davis, Clemens Fantur, Maxime Guyon, Emma Hartvig, Jon Horvath, Theron Humphrey, Georgia Lloyd, Katya Mamadjanian, Rene Mesman, Kevin J. Miyazaki, Alex de Mora, Alberto Moreu, Klaus Pichler, Naruemon Puriso, Saige Rowe, Kyle Seis, Michelle Sharp, Alexandra Smith, Marta Veludo, and Missy Ziebart.

002_23 Pineapples_Missy ZiebartWhile observing the king of all fruits, we are also inviting the community to extend a helping hand in supporting Milwaukee’s Hunger Task Force. The Hunger Task Force’s mission “believes that every person has a right to adequate food obtained with dignity. Hunger Task Force works to prevent hunger and malnutrition by providing food to people in need today and by promoting social policies to achieve a hunger free community tomorrow.” Because of all the good they do for our community, and in the light of a food themed exhibition, proceeds made from the work on display will be donated to the organization.

The Hunger Task Force – Milwaukee: Locally founded, locally funded and locally run, for nearly 40 years we have been feeding Milwaukee. We’ve been a voice for the hungry, promoting socially sound policies that could end hunger in our community. We were founded in 1974 by a group of concerned parents worried about children going to school hungry. Then, in 1977, we responded to community need by opening a food bank to distribute free food to local charities that feed the hungry.

 

 

Ceramic exhibition opens March 20

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Opening reception: Thursday, March 20, 6 to 9 p.m.

As part of the National Council on Education in the Ceramic Arts 48th annual conference (NCECA), which will bring 5,000 visitors to Milwaukee in March, Portrait Society Gallery will host a related exhibition.

 f(c), an exhibition curated by Madison’s Ariel Brice, will present the work of Thomas Müller, Krijn Christiaansen & Cathelijne Montens of KCCM, and Stephanie Davidson & Georg Rafailides of Touchy-Feely, from March 19th through April 12,2014.

 danish groupAriel Brice is an artist and lecturer in Ceramics at University of Wisconsin-Madison. The exhibition will feature designers, artists, and architects whose works play with tense structures, anticipation, and the performance of objects. “f” get-attachment-5refers to function not in the sense customarily associated with ceramics, but instead in the mathematical sense: a finite yet unknown number of output possibilities based on the value to which it defers in the parentheses that follow.  “c” refers to the specific material conditions of clay and ceramic.

 get-attachment-3KCCM was founded by Krijn Christiaansen (1978) and Cathelijne Montens (1978). The work of these two young Dutch designers explores the ways public spaces and landscapes are made, used, lived in, transformed and shaped by people.  Their research and design interventions emanate from their home and studio in Noordwijkerhout, the Netherlands to global locations such as Serbia, Romania, Indonesia, Hungary, Japan, and most recently, to the Portrait Society Gallery in the USA. They teach design at the Gerrit Rietveld Academy in Amsterdam and at the Royal Academy of Art, The Hague.

get-attachment-7Founded by Architects Stephanie Davidson and Georg Rafailidis in 2006 Touchy-Feely is a platform for haptic design in architecture and is a specialized branch of their architecture practice DAVIDSON RAFAILIDIS.  Based in Buffalo, NY where they live and teach Architecture at SUNY Buffalo, they develop close relationships with material manufacturers and production facilities in Europe and America, to develop architectural applications for new projects and material innovations.  Using an experimental approach to materials and an interest in incidental design, T -FEELY aims to provoke curiosity in, and more physical interaction with, the built environment.

 orangeThomas Müller is an artist living and working in Los Angeles, California.  He was born in Cape Town, South Africa and spent his childhood growing up in Africa, the United States and Europe.  Growing up in such disparate locales and cultures has inevitably influenced his work, in particular as it relates to language, time, memory and space.

tomatoHe maintains an active studio practice and shows artwork locally, nationally and internationally.  He has lectured and been a visiting artist at universities and art institutions around the country and is currently teaching at Loyola Marymount University.  He uses time as a sculptural element to create a sense of tension and places the work perennially in the present tense.  He explores ideas of the ephemeral, the nature of language and the nature of objecthood. All of the participants in this exhibition have participated in artist residencies at sundaymorning@ekwc located in ‘s-Hertogenbosch, Netherlands.  Formerly titled the European Ceramic Workcentre, sundaymorning@ekwc is an internationally renowned ceramic work centre where visual artists, designers, architects and other creative professionals can explore the artistic possibilities of ceramics.

 This exhibition is included in the roster of Concurrent Independent Exhibitions taking place during the 48th annual 2014 NCECA conference Material World that runs March 19th to 22nd.   A public reception will be held at the gallery on Thursday March 20th from 7 – 11 PM.

Portrait Society will also present a new iteration of its Country Store project, dedicated to regionally made ceramic miniatures.

This program is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York.

442-11Certificates of Presence: Vivian Maier, Livija Patikne, J. Lindemann
January 17 – March 8, 2014
Also: Winter Chapel by Ashley Morgan
Hours: Thursday through Saturday noon to 5 p.m. and by appointment.
Location: Historic Third Ward, FIFTH floor, Marshall Building, 207 E. Buffalo.
Review: Mary Louise Schumacher, Journal Sentinel
SPECIAL EVENT: Vivian Maier reception with archive owner Jeffrey Goldstein and collection manager Anne Zakaras, followed by screening of the documentary, “The Vivian Maier Mystery,” and a discussion with one of its producers, Jeff Kurz. 6 p.m. Thursday, February 20. Tickets available here.

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Portrait Society Gallery is pleased to present the work of three photographers who have each, in their own way, used the camera to define and defy a sense of social isolation. Vivian Maier was a street photographer in Chicago. Livija Patikne lived in Milwaukee and created a small body of floral still lives and self-portraits.  J. Lindemann, is an accomplished Wisconsin based photographer who is known for her collaborative work with J. Shimon.

This exhibition presents internationally known photographer Vivian Maier for the first time in Wisconsin. Focusing on the camera as a tool of agency and self-validation, each of these photographers used the camera as means of exploring their worlds, as well as solidifying and defining their place in it. The camera provided a strong definition of existence  (a “certificate of presence,” to quote Roland Barthes) in contrast to each artist’s unique condition of isolation and disenfranchisement.

Vivian maier 4Vivian Maier (1926-2009) was born in New York, grew up in France and later worked as a nanny in Chicago for many years. In her leisure time, she would privately and secretly take photographs, wandering the city in search of interesting material. In the five decades of her practice, she produced over 100,000 pictures.

In 2007, when she could no longer afford to pay rent on the storage lockers where she housed her belongings, the materials were auctioned. Two separate buyers, John Maloof and Jeffrey Goldstein, became the primary owners of her rolls of film, prints, audio recordings and films. Both have indexed, archived, researched and guided the presentation of her work.

763-12Vivian Maier’s work has since been shown internationally. Books, exhibitions catalogs and two documentary films have been produced. Her acclaim is due to the richness of her story, but, more importantly, to the quality of the work. Maier, as a street photographer, ranks with her colleagues: Lisette Model, Helen Levitt, Harry Callahan, Henri Cartier-Bresson, Garry Winogrand, Robert Frank, Berenice Abbott. Not only was Maier adept and sensitive to human interaction in the world, but she was a great formalist; throughout her many years of practice, Maier learned to orchestrate complex structural and often sculptural compositions.

In contrast to Maier’s large body of work, Livija Patikne’s 300 Kodachrome slides comprise a modest legacy.

livija black curtainPatikne (1911-2001) was originally from Latvia but had lived in Milwaukee for much of her adult life. When she became elderly and had to leave her apartment to enter a nursing home, the apartment caretaker closed out her residence and gave local photographer Jim Brozek boxes of her slides. Brozek kept the slides tucked away in his closet for 15 years.

Livija Patikne, single bloom During the 1950s and ‘60s, Livija would create simple flower arrangements and dedicatedly stage them within the confines of her home. She also photographed the flowers that she would leave on the grave of her husband who had died in 1959 and took a series of self-portraits in floral patterned dresses she had sewn. Portrait Society introduced this work in the exhibition More than Real: The Death of Kodachrome and later presented an expanded project at the James Watrous Gallery in Madison, July 6 through August 19, 2012, with an accompanying essay by Debra Brehmer (Portrait Society Director) published by the Wisconsin Academy Review.

Like Vivian Maier, as she aged Livija lost most of her social and family ties. But, at some point, she had used the camera to define, honor, represent and reflect what she loved. The camera, as an active tool of selection, implicitly records both image and the photographer’s subjective point of view. Like Vivian Maier, Livija had little social status or sense of belonging. Yet both women insisted through their persistent work that their view of the world held beauty and value.  With autonomous authority, they quietly made themselves visible through the definition of their images. (Catalog available: $40)

neighbors, 2013J. Lindemann (1957-), in this recent body of iPhone pictures, was also working in isolation, but her conditions were different. Diagnosed with advanced stage cancer in November 2012, Lindemann underwent chemo and radiation treatments last winter. She could not leave the house due to her compromised immune system and sensitivity to cold. “The Life of a Shut-In” is a series of informal pictures edited from thousands that helped her explore the new contours of her altered life.  The iPhone camera became a means to engage with the very sensitized and quiet existence imposed by her physical state. Stepping out of the noise and rush of the world, a different kind of seeing set in.  She chose to elevate the everyday by capturing these moments and then posting them on Instagram. As a professional artist whose 30-year practice with her partner, J. Shimon, is grounded in historic cameras and hand-wrought printing methods, Lindemann’s use of populist tools, the iPhone and social media sharing systems, provided a counterpoint to her isolation and yet did not alter the intimacy and privacy of the images and her ongoing examination of the overlooked and the obscure. (Book available, $25)

J. Lindemann, lime jelloEach project’s installation in the gallery will also reflect some of the unique conditions of these bodies of work.  Vivian Maier’s photographs will be shown conventionally, in rows of framed and matted 12 x 12 inch silver gelatin prints. The 24 images selected from the Jeffrey Goldstein collection emphasize how strong a force the curatorial/gallery/archivist’s selection process becomes in shaping the identity and legacy of the artist.

Livija Patikne’s work will be presented as a digitally projected slide show as well as in a portfolio of  editioned images, with additional prints on the wall. Having originated as Kodachrome slides, the projected sequence of images suggests the temporal nature of the work. Lindemann’s photographs will stream on three small picture monitors, allowing the seasons and passing light of each day to repeatedly fade in and out of one another. A small book prepared by J. Lindemann will be available for purchase as well as individual prints.

For additional information or images, please contact Debra Brehmer at Portrait Society Gallery, 414-870-9930, portraitsocietygallery@gmail.com