Posts Tagged ‘T. M. Davy’

Purple and Cold

Friday, February 7th, 2014

What happens when one of the world’s most corrupt countries hosts the most expensive Olympics?  You get bribery and embezzlement.  What happens when one of the world’s most homophobic countries bans gay expression?  You get creative resistance.

Resistance to Putin’s Olympics includes boycotts, demonstrations, kiss-ins, a Google doodle, and even nail polish.  And arrests have begun, too.

Russia has come close to ruining the Olympics.  It has sparked a toxic triangulation of progressives versus the Olympics and Russia.  But let’s take the Olympics back, and turn that triangle: progressives and the Olympics versus Russia!

So what should cultural producers do?  They should produce!  Here’s Purple & Gold at Louis B. James Gallery, a design project and one-night exhibition for which New York artists created a “capsule collection” of queer tracksuits.  The tracksuits will be available for sale via PRINTALLOVER.ME, the print-a-porter startup founded by Jesse Finkelstein.  Proceeds from sales will benefit the Russian LGBT Network.

Designs by Robert Melee (left) and T.M. Davy (right)

Purple & Gold is curated and executed by David Fierman and PRINT ALL OVER ME.  Participating artists include Aay Kay Burns, Jibz Cameron, Deric Carner, T.M. Davy , Christian Dietkus, Scott Hug, Casey Legler, Kalup Linzy, Michael Mahalchick, Ryan McNamara, Robert Melee, Lucas Michael, Wardell Milan, David Mramor, Jack Pierson, Colin Self, David Benjamin Sherry, and more.

Concept by Jibz Cameron/Dynasty Handbag

Flickering and Constant

Friday, January 3rd, 2014

T.M. Davy’s second solo exhibition at Eleven Rivington, Candela, continues a series of oil paintings scaled and composed for intimacy.  Smaller than letters written home, the paintings seize upon the candlelight that has illuminated Davy’s recent portraits of friends and family members.  T.M.’s hard, gem-like flame yields haunting visitations, sensual textures, molten contrasts, and coruscating color chords that shatter the monochrome fantasy.  This candle flame simulates the photosensitive ocular interface that orients the individual to others, and it is the unifying entry point among the series.

TM Davy, "Candela (Dad's Painting)," 2013

Candela includes portraits of artist friends, such as Paul Mpagi Sepuya and Scott Hug, and a painting of a work on paper by Melissa Brown.  They also include meaningful surfaces, such as the polished sheen of an acoustic guitar, a backdrop of one of his father’s seascape paintings, and a glass that shimmers in fractal subdivision, as irrefutable as Uccello’s chalice.  Finally, T.M.’s index brings us evocative materials, such as lace given to him by a great aunt, and the orchids, oxalis, and cactus plants that populate his Brooklyn loft.  Contemplating this imagery, a viewer might ponder about cohabitation, family, friendship, origins, and heritage – the concentric layers of the self, expanded.

TM Davy, "Candela (Man with Pipe)," 2013

For example, one special subject appears several times in Candela.  This is Liam, Davy’s husband of two years and mate of more than a decade.  In one of these paintings, Liam looks back at the viewer.  If two souls become one in marriage, then by the rules of psychological catoptrics, Liam is looking back at himself.  But one eye is occluded by the candle.  Is this painting about the eye that unifies the couple?  Or is one eye reserved for autonomy, for the inner layers of the person yet to be discovered?  Meanwhile, the couple’s non-human domestic companion, a housecat named Wyeth, cranes her neck outward; the tufts of her mane bloom like an Elizabethan ruff.  It’s a dignifying meditation on a friend, more than a portrait of a pet.  Does this inclusive embrace extend to the plants, which share the artist’s air?  And the textiles he paints?  Why not, if their fabrics convey the memories of the people whose hands have smoothed them?

TM Davy, "Candela (Wyeth)," 2013

 

 

TM Davy, "Candela (Honey's Lace)," 2013

Of textiles, Davy devotes one linen to a gray seascape painted by his father, a well-established mural painter whose tutelage brought T.M. to the present.  Here, T.M. literally depicts “his background,” whereby his father’s output includes landscape paintings and an exceptionally gifted son.

Finally, there are the harmonious “values” that might organize the thoughts of the people woven through T.M. Davy.  First, the glass goblet, like a compound spectroscope, refracts a single candle into its twinkling ROYGBIV array, a spectrum that brings painters under the same tent as cosmologists.  Likewise, the guitar strings embody the Newtonian color spectrum, approximately, and thereby summon Walter Pater’s proposal that “All art constantly aspires to the condition of music.”  Or there’s the wisdom that the painter (and violinist) Jean-Auguste-Dominique Ingres imparted to his students:

“If I could make musicians of you all, you would thereby profit as painters.  Everything in nature is harmony: a little too much, or else too little, disturbs the scale and makes a false note.  One must reach the point of singing true with the pencil or with brush quite as much as with the voice; rightness of forms is like rightness of sounds.”

TM Davy, "Candela (Blue-Grey Glass)," 2013

In other words, Candela offers the possibility that color alchemy or chord intuition attunes an individual to nature, including familial and social bonds.  Or maybe it emphasizes ways the elemental forces of color and music span generations, just like language and agriculture.  -But is one guitar string missing? Why that one?  Is this missing link a lapse, or is it a promise?

TM Davy, "Candela (Guitar)," 2013

UPDATE: T.M. Davy is also in the group show, “Totally Gay for Sports,” curated by Paul Brainard, at The Lodge Gallery, and he’ll host a book signing at Eleven Rivington on Sunday, January 5th, 5-7pm.  For a profile of T.M. Davy, read this:

http://www.1stdibs.com/introspective/working_practice/tm_davy_at_eleven_rivington/

The Birth of Quill

Monday, March 29th, 2010

Your "Peace" in the Show: Joe Flood with Keith Mayerson

Curated by artists’ artist Keith Mayerson, the neo-NeoIntegrity (or post-NeoIntegrity) migrates from Chelsea to SoHo, where, 15-20 years ago, it would have been in the capitol of the art world.  The first incarnation at Derek Eller Gallery in 2007 felt like the Justice League Satellite, a zero-gravity chamber of unimpeachable art that surely anticipated Reporta Smith’s recent summoning for “art that seems made by one person out of intense personal necessity, often by hand.”  And this show does, too.

Inside the gallery at MoCCA (the Museum of Comic and Cartoon Art), the show seems as far from Chelsea as Narnia, Gotham City, or Krypton, despite the presence of the Chelsea canonized Mike Kelley, Jim Shaw, Ellen Berkenblitt, Carroll Dunham, and Peter Halley.  And has the Whitney been by to see the Ad Reinhardt collages?

Big balls in a square-paneled world: Keith Mayerson's shout-out

Visitors to NeoIntegrity: Comics Edition might recall recent “visitations” in Chelsea from this alien planet: Basil Wolverton at Gladstone Gallery (2009), R. Crumb at David Zwirner (now), Thomas Woodruff at P.P.O.W. (2008), David Shrigley at Anton Kern (2008) and many other shows of artists working in sequential imagery, grotesque countenance and figuration, and mostly pencil and ink.  Keith Mayerson’s own mini-retrospective and end-of-empire narrative Both Sides Now at Paul Kasmin Gallery (2009) shuttled back and forth between these worlds.

(l) MoCCA Chairwoman Ellen S. Abramowitz, youngsters, MoCCA Director Karl Erickson

Generously funded by School of Visual Arts, a longtime fount of cartooning and illustration talent, Keith’s massive project includes over 200 artists and four or five times as many drawings, paintings, sculptures, and videos.  Hot!  The tiny gallery is packed from floor to ceiling, and you really have to watch your step, too.

Krazy Kats: (l-r) Artists Michael Magnan and TM Davy, muse Liam O'Malley, and artist Scott Hug

The bifocals crowd might struggle with the abundance of 10-pt handwritten text extruded throughout the paneled pages, and there is enough black-and-white action to make any newspaper’s editorial page see red.  But that just means that it’s even more of a knockout to see full-color from chromo sapiens such as Dana Schutz, David Sandlin, and John Wesley.  An “Adults Only” section designed by artist TM Davy includes grown-up material ranging from suggestive homoeroticism and explicit T&A to downright  obscenity – more, please!  Here, you’ll find a really beautiful and moody package from James Siena and a multivalent Shel Silverstein that gazes inward, outward, and downward, all at once.

Gold-Medal winning illustrator Yuko Shimizu, SVA MFA '03

More pictures to come after the rain subsides, but the photos today are from the opening reception last week.

IMAGES: Michael Bilsborough