Judith Joy Ross
Portraits of the United States Congress. 1986-87
October 21st – December 3rd
Law of Dissipation
September 16th – October 16th
Jim Buchman, LaKela Brown, Josef Bull, Renee Delosh, Anne Eastman, Derek Fordjour, Corinne Jones, Brad Kahlhamer, Seth Kelly, Robbie McDonald, Terri Phillip, Mariah Robertson
Tops Gallery welcomes you to Island States, a group show of free-standing sculpture curated by Corinne Jones. Island States is conceived as a constellation of independent bodies that have a distinct presence of “standing”, each one an embodiment and symbol of autonomy. The operative gesture of “standing up” or “standing for” is a present-day measure of asserting one’s beliefs. While the works apply diverse materials to disparate ends, they share a common attribute, an emblematic economy which acts on the viewer’s recognition of the signs in each form. Each sculpture is its own autonomous ‘island’ and symbolic ‘flag’. Taken together, the configuration of forms represents a loose federation of self-determined states of being.
December 12th – February 6th
Marlous Borm, David Deutsch, Paul Edwards, Leo Fitzpatrick, Kevin Ford, Stephen Lack, Lester Merriweather, Scott Reeder, Walter Robinson, Tom of Finland, Ernest Withers
The Inside Circle
October 23rd – December 5th
The Season Moved
August 21st – October 3rd
Jackie Gendel and Dana Frankfort
June 6th – August 1st
Material Will: Force In Form
April 3rd – May 31st
Voice of the Turtle
December 13th – February 8th
Kenneth Lawrence Beaudoin, Peter Bowman, Jim Buchman, Guy Church, William Eggleston, John Fahey, John McIntire, Johnathan Payne, Terri Phillips
Here & There
October 10th – December 7th
Tops Gallery is pleased to present Here & There, an exhibition of six paintings by Jered Sprecher.
The works in this exhibition have been selected for their relation to the space of the gallery. The paintings find echoes in the manhole cover skylight, concrete walls, columns, recessed spaces, and sledgehammer crafted doorway. The show is a call and response between the paintings and the space and the temporal nature of both.
Sprecher starts with source material derived from his regular collecting of ubiquitous images and visual leavings. From the fast paced exchange of images and forma that flood the global culture, Sprecher extracts images that confoundingly resonate with vital meaning. In his paintings these images are slowed down, recontextualized, and transfigured.
The selection of paintings for this exhibition span the past four years. Circles, holes, graphic darks, saturated color, rough hewn form, and refined edges mingles in pairings that are both solid and slipping through the viewer’s grasp at the same moment. Both here and there.
Jered Sprecher (born 1976 in Lincoln, Nebraska) received his MFA from the University of Iowa and is currently an associate professor at the University of Tennessee, Knoxville. He was the recipient of a fellowship from the John Simon Guggenheim Memorial Foundation in 2009 and was an Artist-in Residence at the Chinati Foundation, Marfa, TX in 2013. Sprecher has had one person shows this year at Gallery 16 in San Francisco, Staple Goods in New Orleans, and Steven Zevitas Gallery, Boston.
August 9th – October 4th
In the anteroom dozens of branches painted white are suspended at eye level. The density of this forested room opens into Jones’ measured use of the primary gallery. Jones has considered the distinctive quality of the space: its subterranean nature, connection through a coal chute and a manhole to the ground and sky, the proximity to the river, the white epoxy floor, the cave like entrance…floods, drains, coal, roots. Jones’s show at Tops will channel the mutability of the gallery space. For the show Jones has developed a vocabulary of sculptural objects which will inform how she will interact with the space. The work will shift and change as a result of her sustained engagement.
Terri Jones lives and works in Memphis, TN. She is the recipient of an NEA fellowship and received her BFA from the Atlanta College of Art. Jones is represented by David Lusk Gallery in Memphis.
May 23rd- July 26th
Corinne Jones: Plain English
Tops Gallery is pleased to present Plain English, an installation of ten paintings, a video, and an artist book by Corinne Jones. The exhibition takes its name from the book title. Plain English, 2014, letterpress edition of 50, is a morally ambiguous, allegorical tale that sets a stage where – within a status quo – there is the potential for art to occur. The paintings are each titled Casting Out Sevens (1-16), 2013-2014, acrylic on shaped canvas, variable sizes. Each painting is a singular episode of subtle, equiluminant color on a distinctly shaped structure. The layered painting method produces a gentle shift between warm and cool tonalities that give the paintings an indeterminate quality. The surfaces waver like an in-between sonic tone or fluctuating temperature. The anatomy of each canvas is seven-sided, with each shape eluding references that could be easily categorized. At the same time, the shapes are active signifiers. The seven corners of each painting point to the periphery of the canvas. By extension, they direct attention to the exhibition space itself and to the other paintings within it. The paintings can be seen as separate accounts of a connected event. The video, Lamar Park, Machu, 2012, made in collaboration with Liam Gillick, demonstrates a particular sense of remoteness in a public park. Its slide show format is a comparison of scale relationships. The site appears to be a life-sized model and a “stand in” for the fictional locations named in Plain English.
Corinne Jones lives and works in New York City. The Long Delayed Echo, 2011 – Present, is the umbrella title for her interrelated series of work which includes paintings, interventions, videos, sound and writing. Her most recent work, Casting Out Sevens, 2013 – 2014, are seven-sided paintings comprised of subtle equiluminant color. Corinne Jones has exhibited in New York City, New York, Miami, Florida, London, UK, and Warsaw, Poland. She is an adjunct professor at Columbia University where she received her MFA in 2007. She received her BFA from The School of Visual Arts in 1996.
April 6th – May 11th
Walter Robinson: Painkiller
Tops Gallery is pleased to present Painkiller, an exhibition of eleven paintings by Walter Robinson. Robinson, a New York based painter and art critic, emerged in the late 1970’s among a group of young artists now known as the Pictures Generation. For Painkiller, Robinson and Tops have thematically culled eleven paintings depicting relief in various guises. Taking his source material from advertising, Robinson renders mundane objects like cigarettes, whiskey, aspirin, and cheeseburgers in what he refers to as a “straightforward illustrative style of painting.” Appropriating images from magazines, brochures, and the internet Robinson’s work is the product of an observer both horrified and amused by the onslaught of advertising and consumption we all experience on a daily basis. Like a 21st century flaneur, Robinson’s paintings can be seen as late capitalist still lifes in the tradition of the memento mori. As Brice Marden noted in the early 1970’s “painting says pain in it.” Robinson’s paintings suggest that the true painkiller is not the booze, fatty foods, or pills, but the paintings themselves. Both remedy and vice.
Walter Robinson is a painter who has exhibited his work at Metro Pictures, Haunch of Venison and other galleries; his recent exhibitions include “Hello from New York” at Firecat Projects in Chicago (December 2012) and “Indulgences” at Dorian Grey Gallery in the East Village (March 2013). His work was included in the 2014 “Spring Break Art Show.”
Robinson is also an art critic who writes a regular column for Artspace.com. He was founding editor of Artnet Magazine (1996-2012), and also served as art editor of the East Village Eye (1983-85) and as a contributor to Art in America (1980-1996). During 1973-77 he co-published and co-edited Art-Rite magazine. He is the author of Instant Art History (Ballantine, 1995).
January 31st – March 29th
November 15th – January 17th
“Time is moving like a motherfucker. So what you gonna do?”
– Mark Twain, Roughing It
Tops Gallery is pleased to present Dan Torop’s Alkali Desert. These photographs arose from Torop’s obsession with Chapter XVIII of Mark Twain’s memoir, Roughing It. Twain, recounting a stagecoach journey across western Utah, enlivens an otherwise dull stretch by vividly contrasting his romantic notion of desert travel with the cruel reality of the actual journey.
One hundred and fifty years later, Torop followed Twain’s route, which is still traceable and is still quite remote. Sustained exposure to the desert made something go haywire in Torop’s mind. Perhaps it was a madness caused by the alkali desert’s proximity to Robert Smithson’s Spiral Jetty, and the memories this provoked of Smithson’s mirror displacements. Regardless, Torop drove to Los Angeles, obtained twenty sheets of posterboard, and returned to the desert.
The western Utah desert is a site on which people inscribe. Whether artists, the military, or casino developers, visitors desire to mark this space. Torop marked it with posterboard – sometimes chasing the posterboard by bicycle when it flew away due to high winds. Alkali Desert is a result of this work.
This show consists of color photographs made in western Utah but also some displaced to the Hudson River Valley, near where Twain wrote many novels. These images were made in 2011 and 2012 with a film camera, and are presented as framed 18″ x 12″ inkjet prints.
Torop is grateful to the Center for Land Use Interpretation for a residency at which much of this work was made. The MacDowell Colony provided him with a residency during which he edited these images and produced a book, Chapter XVIII, which is included in this exhibition. Torop is pleased to show this work at Tops Gallery, which is so near the river on which Twain found his spirit and vividly enacted his stories.
An edition of Torop’s Late Summer 2 (2011, 13″ x 8½”), is sold as an edition to benefit this collaboration between Tops Gallery and the artist. For details on this exhibition, future projects, or Tops’ program, please contact the gallery at firstname.lastname@example.org.
Dan Torop’s Alkali Desert has traveled to the Center for Land Use Interpretation’s Exhibit Hall One in Wendover, Utah (where it is currently on display), and was shown earlier this year at The Green Gallery, Milwaukee. Torop’s 2010 series of landscapes and portraits, Skydiving, were exhibited at Derek Eller Gallery, New York, and comprised a publication from A-Jump Books. Other collaborative and solo projects include Situation (2012), Virtual Bowery (2008-10), Snowbound (2007), Estimated Landscapes (2005), and Ocean (2000-7). He is currently engaged in a year-long seasonal residency at the Lynden Sculpture Garden in Milwaukee. Torop has contributed to publications including Triple Canopy, Modern Painters, Columbia: A Journal of Literature and Art, and Paper Monument. He has taught at New York University since 2008.
Black House|White Market
September 27th November 10th
As Tiny or Important as You Like
August 16th – September 22nd
Chapel of Yes
May 10th – July 13th
March 2nd – May 4th
December 14th– February 23rd
October 20th – December 8th