White Columns Online:

“Cloud Memories”

curated by Adrianne Rubenstein

January 23–March 7, 2020 Online
Karen Barbour Untitled, 2018 Oil on paper 22 x 30 in. Courtesy of the artist. (Six crudely rendered yellow flowers with blue stems and leaves, against a painterly background with brown, red and black patches.)

Karen Barbour
Untitled, 2018
Oil on paper
22 × 30 in.
Courtesy of the artist.

Amanda Friedman Ship I, 2017 Crayon, linen, oil, gouache, watercolor, pastel, paper 24 x 18 in. Courtesy of the artist. (A perspective-less rendering of a ship in the ocean. The vessel and its surroundings are rendered in a blocky manner. The sky is pink above the horizon with red text in the top right corner of the painting that reads: "Coloring in the lines - fines, 5-8-17. Took sick day. Are my drawings getting better or worse? What if the poets in the magic workshop were in a genie bottle ship? And the one who wanted to get in was hovering?")

Amanda Friedman
Ship I, 2017
Crayon, linen, oil, gouache, watercolor, pastel, paper
24 × 18 in.
Courtesy of the artist.

Hannah Rose Dumes Wild Life, 2018 Oil, oil pastel, collage on panel 18 x 24 in. Courtesy of the artist. (A dense and colorful abstract painting with collage. The surface is fragmented into different pieces. There are various textures and colors, including blue, red, black and white, overlaid and scratched through.)

Hannah Rose Dumes
Wild Life, 2018
Oil, oil pastel, collage on panel
18 × 24 in.
Courtesy of the artist.

Austin Furtak-Cole Pass Go, 2019 Acrylic on paper 22 x 22 in Courtesy of the artist. (A painting depicting the corner of a brick wall, with disembodied body parts, including three hands and one head pictured from the back. The light, flesh toned head is facing towards one of the brick walls. The three hands, rendered in brown, pink and purple are making various gestures with their palms facing forward and fingers outstretched. The brown hand is embedded in the brick wall. The background edges of the painting are painted a neutral navy color.)

Austin Furtak-Cole
Pass Go, 2019
Acrylic on paper
22 × 22 in
Courtesy of the artist.

Erin Hunt Breathing through your Ear, 2017 Oil on canvas 18 x14 in. Courtesy of the artist. (A painting composed primarily of patchy geometric shapes in blue and green hues. Among the patches is a recognizable rendering of an ear and a mouth bearing teeth. There is a large semi opaque shadow-like patch overlapping with the images and shapes in the center of the painting.)

Erin Hunt
Breathing through your Ear, 2017
Oil on canvas
18 x14 in.
Courtesy of the artist.

Emily J Kiacz Clear Swing, 2019 Acrylic on shaped wooden panel 12 x 12 in. Courtesy of the artist. (An abstract painting on a wavy parallelogram shaped panel. On the face are wide overlapping brush strokes in hues of blue and green.)

Emily J Kiacz
Clear Swing, 2019
Acrylic on shaped wooden panel
12 × 12 in.
Courtesy of the artist.

Benjamin King Untitled, 2018 Acrylic on canvas 20 x 20 in. Courtesy of the artist. (A dense, roughly rendered landscape that includes tree filled hills and cliffs surrounding two bodies of water with large rocks. At the top there is a glimpse of a blue sky with white clouds.)

Benjamin King
Untitled, 2018
Acrylic on canvas
20 × 20 in.
Courtesy of the artist.

Alexandra Lakin Persephone, 2017 Pencil, gouache, computer 10 x 12 in. Courtesy of the artist. (A painting depicting a central figure and four amorphous shapes against a black background. The frontal facing figure wears a long white garment and holds something in its hands at its waist. The shapes are arranged symmetrically around the figure. Two of the shapes contain depictions of landscapes, while the other two depict abstract shapes and patterns of different colors.)

Alexandra Lakin
Persephone, 2017
Pencil, gouache, computer
10 × 12 in.
Courtesy of the artist.

Margaret Mousseau The Hippie Sisters Flying Above the Ground, 2019 Colored pencil on paper 9 x 12 in. Courtesy of the artist. (A psychedelically rendering of two scrawly figures floating among and exchanging fantastical plants, against an airy pastel background.)

Margaret Mousseau
The Hippie Sisters Flying Above the Ground, 2019
Colored pencil on paper
9 × 12 in.
Courtesy of the artist.

Jennifer Sullivan Tiggy #2, 2018 Oil and oil stick on canvas 32 x 30 in. Courtesy of the artist and Five Car Garage. (A roughly rendered black and white dog that is missing its right eye and wearing a heart shaped charm hanging from its collar against a brushy background of different blue and purple hues.)

Jennifer Sullivan
Tiggy #2, 2018
Oil and oil stick on canvas
32 × 30 in.
Courtesy of the artist and Five Car Garage.

Participating Artists

Karen Barbour
Hannah Rose Dumes
Amanda Friedman
Austin Furtak-Cole
Erin Hunt
Emily J Kiacz
Benjamin King
Alexandra Lakin
Margaret Mousseau
Jennifer Sullivan

Exhibition Description

Usually I find art in the world by following ant trails, which leaves a map of sorts, it’s easy to sort out how I got there, through whom and why, and yet it’s a near total mystery when something speaks back. I curated this exhibition by clicking over and over again on the random select button of the White Columns registry page. Is that how everyone does it? The artworks enclosed speak to patterns in nature, psychology and dream space that echo memories, made up memories, things I have never seen. The imagination.

Early memories consist of natural scenes for most of us. Our bodies are formed by nature and before we access language we’re interpreting color and sound the way we interpret trees and light after we have language. There is a deep affinity for the soulfulness of the natural environment, the shapes which allude to it, curves, color, translucency, light, reflection. In abstraction we have knotted emotions densely organized and expanded, articulated, suggested through the mirror knowledge of touch and time. I look at a thing and understand instantly how it was made by the body, a primal act with intention and purpose but also a swipe or a smear.

Narrative works encompass simultaneous worlds that are at once literal and metaphorical. Like a fable with dark energy and a positive moral, everything is witchcraft and a cauldron and the fire under the cauldron and the vision inside the crystal ball or the fire. The right and wrong way to go through things. A scene, slightly inaccessible is positioned among a few objects all of which have a meaning and are also people, each of whom suggests an interaction and an ending.

Our moral predicament is described through the pictures and places that are everywhere and nowhere, cooked up with barest knowledge. The sounds that come naturally before language, the light in Plato’s cave, a quickly disappearing spaceship, the shadow of a giant fir tree. A rainbow, a rabbit disappearing inside a cabbage patch. A carrot. Everything in the world is beautiful because of the possibility of nothing and the spell it casts over anything that we might be allowed.

This exhibition is the eleventh in a series of online exhibitions; this exhibition was curated from White Columns’ Artist Registry.

Participating Artists Include:

Karen Barbour
Hannah Rose Dumes
Amanda Friedman
Austin Furtak-Cole
Erin Hunt
Emily J Kiacz
Benjamin King
Alexandra Lakin
Margaret Mousseau
Jennifer Sullivan

For more information: registry.whitecolumns.org

Karen Barbour Untitled, 2018 Oil on paper 22 x 30 in. Courtesy of the artist. (Six crudely rendered yellow flowers with blue stems and leaves, against a painterly background with brown, red and black patches.)
Amanda Friedman Ship I, 2017 Crayon, linen, oil, gouache, watercolor, pastel, paper 24 x 18 in. Courtesy of the artist. (A perspective-less rendering of a ship in the ocean. The vessel and its surroundings are rendered in a blocky manner. The sky is pink above the horizon with red text in the top right corner of the painting that reads: "Coloring in the lines - fines, 5-8-17. Took sick day. Are my drawings getting better or worse? What if the poets in the magic workshop were in a genie bottle ship? And the one who wanted to get in was hovering?")
Hannah Rose Dumes Wild Life, 2018 Oil, oil pastel, collage on panel 18 x 24 in. Courtesy of the artist. (A dense and colorful abstract painting with collage. The surface is fragmented into different pieces. There are various textures and colors, including blue, red, black and white, overlaid and scratched through.)
Austin Furtak-Cole Pass Go, 2019 Acrylic on paper 22 x 22 in Courtesy of the artist. (A painting depicting the corner of a brick wall, with disembodied body parts, including three hands and one head pictured from the back. The light, flesh toned head is facing towards one of the brick walls. The three hands, rendered in brown, pink and purple are making various gestures with their palms facing forward and fingers outstretched. The brown hand is embedded in the brick wall. The background edges of the painting are painted a neutral navy color.)
Erin Hunt Breathing through your Ear, 2017 Oil on canvas 18 x14 in. Courtesy of the artist. (A painting composed primarily of patchy geometric shapes in blue and green hues. Among the patches is a recognizable rendering of an ear and a mouth bearing teeth. There is a large semi opaque shadow-like patch overlapping with the images and shapes in the center of the painting.)
Emily J Kiacz Clear Swing, 2019 Acrylic on shaped wooden panel 12 x 12 in. Courtesy of the artist. (An abstract painting on a wavy parallelogram shaped panel. On the face are wide overlapping brush strokes in hues of blue and green.)
Benjamin King Untitled, 2018 Acrylic on canvas 20 x 20 in. Courtesy of the artist. (A dense, roughly rendered landscape that includes tree filled hills and cliffs surrounding two bodies of water with large rocks. At the top there is a glimpse of a blue sky with white clouds.)
Alexandra Lakin Persephone, 2017 Pencil, gouache, computer 10 x 12 in. Courtesy of the artist. (A painting depicting a central figure and four amorphous shapes against a black background. The frontal facing figure wears a long white garment and holds something in its hands at its waist. The shapes are arranged symmetrically around the figure. Two of the shapes contain depictions of landscapes, while the other two depict abstract shapes and patterns of different colors.)
Margaret Mousseau The Hippie Sisters Flying Above the Ground, 2019 Colored pencil on paper 9 x 12 in. Courtesy of the artist. (A psychedelically rendering of two scrawly figures floating among and exchanging fantastical plants, against an airy pastel background.)
Jennifer Sullivan Tiggy #2, 2018 Oil and oil stick on canvas 32 x 30 in. Courtesy of the artist and Five Car Garage. (A roughly rendered black and white dog that is missing its right eye and wearing a heart shaped charm hanging from its collar against a brushy background of different blue and purple hues.)

Karen Barbour
Untitled, 2018
Oil on paper
22 × 30 in.
Courtesy of the artist. (Six crudely rendered yellow flowers with blue stems and leaves, against a painterly background with brown, red and black patches.)

Amanda Friedman
Ship I, 2017
Crayon, linen, oil, gouache, watercolor, pastel, paper
24 × 18 in.
Courtesy of the artist. (A perspective-less rendering of a ship in the ocean. The vessel and its surroundings are rendered in a blocky manner. The sky is pink above the horizon with red text in the top right corner of the painting that reads: “Coloring in the lines – fines, 5-8-17. Took sick day. Are my drawings getting better or worse? What if the poets in the magic workshop were in a genie bottle ship? And the one who wanted to get in was hovering?”)

Hannah Rose Dumes
Wild Life, 2018
Oil, oil pastel, collage on panel
18 × 24 in.
Courtesy of the artist. (A dense and colorful abstract painting with collage. The surface is fragmented into different pieces of various textures and colors, including blue, red, black and white, overlaid and scratched through.)

Austin Furtak-Cole
Pass Go, 2019
Acrylic on paper
22 × 22 in
Courtesy of the artist. (A painting depicting the corner of a brick wall with disembodied body parts, including three hands and one head pictured from the back. The light, flesh toned head is facing towards one of the brick walls. The three hands, rendered in brown, pink and purple are making various gestures with their palms facing forward and fingers outstretched. The brown hand is embedded in the brick wall. The background edges of the painting are painted a neutral navy color.)

Erin Hunt
Breathing through your Ear, 2017
Oil on canvas
18 x14 in.
Courtesy of the artist. (A painting composed primarily of patchy geometric shapes in blue and green hues. Among the patches is a recognizable rendering of an ear and a mouth bearing teeth. There is a large semi opaque shadow-like patch overlapping with the images and shapes in the center of the painting.)

Emily J Kiacz
Clear Swing, 2019
Acrylic on shaped wooden panel
12 × 12 in.
Courtesy of the artist. (An abstract painting on a wavy parallelogram shaped panel. On the face are wide overlapping brush strokes in hues of blue and green.)

Benjamin King
Untitled, 2018
Acrylic on canvas
20 × 20 in.
Courtesy of the artist. (A dense, roughly rendered landscape that includes tree filled hills and cliffs surrounding two bodies of water with large rocks. At the top there is a glimpse of a blue sky with white clouds.)

Alexandra Lakin
Persephone, 2017
Pencil, gouache, computer
10 × 12 in.
Courtesy of the artist. (A painting depicting a central figure and four amorphous shapes against a black background. The frontal facing figure wears a long white garment and holds something in its hands at its waist. The shapes are arranged symmetrically around the figure. Two of the shapes contain depictions of landscapes, while the other two depict abstract shapes and patterns of different colors.)

Margaret Mousseau
The Hippie Sisters Flying Above the Ground, 2019
Colored pencil on paper
9 × 12 in.
Courtesy of the artist. (A psychedelically rendering of two scrawly figures floating among and exchanging fantastical plants, against an airy pastel background.)

Jennifer Sullivan
Tiggy #2, 2018
Oil and oil stick on canvas
32 × 30 in.
Courtesy of the artist and Five Car Garage. (A roughly rendered black and white dog that is missing its right eye and wearing a heart shaped charm hanging from its collar against a brushy background of different blue and purple hues.)