Press Release: Clint Baclawski “Departure”

August 20, 2022 Abigail Ogilvy

Clint Baclawski: Departure

September 2 - October 16, 2022
Opening Reception: Friday, September 2 from 6:00 - 8:30 PM

Three years after the presentation of Fringe, Clint Baclawski returns to Abigail Ogilvy Gallery with his second solo exhibition of work - influenced by his travels during the pandemic. In the summer of 2021, Baclawski and his family set off on a cross country road trip, equipped with a large format camera. The resulting imagery works its way into this exhibition in a format that is entirely new for the artist.

Entering the exhibition, you are immediately confronted with awe inspiring imagery of Grand Teton National Park displayed on an impressive scale: divided into 5 sections, the image itself measures 8 feet tall by 25 feet long. This was the feeling Baclawski had when he came upon the staggering landscape in real time. “We were driving in - you round a bend and the image is right there, an iconic viewpoint.” The stunning mountains proved a natural transition from his past bodies of work, all revolving around mirrored imagery. Growing up as an identical twin, Baclawski has always had this concept of mirroring at the forefront of his mind, and it has always found itself central to his work.

Clint Baclawski, *Departure*, 2022. Scrolling lightbox kits, electronic ballasts, Latex prints, 2’ LED bulbs, speaker wires, power cords, Stinger cable power supply, matte black wall. 270" w x 108" h x 4.5” d

This new body of work leans heavily into this concept of likeness, as his chosen image depicts a mountain and its reflection in the clear stillness of a river. But unlike anything Baclawski has presented before, this time, instead of a single static image portrayed through lightbulbs, the image itself moves. The five sections, comprising one image, are divided and presented on a scrolling mechanism that the artist has mounted directly onto the gallery wall. As the image scrolls, it morphs from a seemingly idyllic landscape picture to the negative in an almost apocalyptic red at the end. The scroll waves slightly, mimicking the bend and movement of Snake River, which winds through the National Park for 50 miles.

Baclawski reflects, “what struck me about the rotating image is the reflection and how uniquely, perfectly symmetrical the water reflected the mountains. This has been a thread in my work for 14 years: the mirroring of an image.”

Baclawski’s sublime scene is reminiscent of the art historical greats who have long grappled with the awe and sanctity of the natural world. Just as Thomas Cole imbued his landscapes with moral, spiritual and political meaning, so too does Baclawski’s work explore nature as a conduit for meaning-making and symbolism. Similar to Cole’s resistance to the capitalization of land, Baclawski spins his own connection to advertising photography, which he studied at Rochester Institute of Technology. His ability to capture and disseminate without disrupting the earth, means that he is able to transverse a very specific site and experience across state lines and into our Boston gallery. Baclawski’s work has always explored these elements of advertising, inspired by his days in school when everything was shot on film and critiques took place on lightboxes. It was there that Baclawski fell in love with the backlit image and the sharpness of the large format camera. In this way, Baclawski has become well-known for capturing awe inspiring landscapes.

Clint Baclawski (b. 1981, Lewisburg, Pennsylvania) is a contemporary artist working with photography, technology, light, and space. His solo exhibition locations include San Luis Obispo, California; St. Louis, Missouri; Boston, Massachusetts; Edinburgh, Scotland; and group shows at the Chelsea Art Museum, Danforth Museum, Fort Wayne Museum of Art, San Diego Art Institute, The Jen Bekman Gallery, and the University College Falmouth in England. His work is included in private and institutional collections. Baclawski has been featured in FRAME magazine, The Boston Globe, The Creator’s Project, Boston Home magazine, Designboom, and The Collector’s Guide to New Art Photography Volume II. Clint’s studio is located in Boston’s South End.

Mishael Coggeshall-Burr: Ukraine Relief Exhibition

July 22, 2022 Abigail Ogilvy

Ukraine: Courage has two colors
Solo Exhibition
October 19 - 30, 2022
Opening Reception with Artist: Saturday, October 22nd from 2:00 - 6:00 PM
Artwork Release Date: October 1, 2022

Half of any proceeds will be donated towards displaced Ukrainians within Ukraine via the nonprofit Project Nadiya.

Earlier this year in May, Mishael Coggeshall-Burr and his wife Nadya Tkachenko traveled to Ukraine, Poland and Slovakia in order to contribute to refugee aid following the Russian invasion a few months prior. Coggeshall-Burr, an artist based in Montague, MA, has an important connection with Ukraine and felt an overwhelming sense of urgency to travel to the country and help. While Nadya grew up in the former soviet republic of Kazakhstan, her father was Ukrainian, born in the countryside North of Kyiv, geographically in the line of the first Russian advance. When she and Mishael first met, they spent time traveling throughout Eurasia, mostly in Ukraine, visiting with friends and relatives in 2002. This travel left a strong impression on Mishael: two of their four children bear Ukrainian names, and he works the memory of these travels into his artistic practice. The recent trip led to a new series of paintings focused on Ukrainian relief efforts.

Mishael Coggeshall-Burr packing summer uniforms, medical supplies, radios and tactical supplies that he and his wife, Nadya Tkachenko, would deliver to contacts in Western Ukraine.

The May trip was the second war effort their family had participated in: In March, while Mishael stayed with their children, Nadya spent two weeks in Przemyśl, a town on the border of Poland and Ukraine, helping translate urgent needs in Ukrainian and Russian at the border crossing, making food at the World Central Kitchen, and finding housing for refugee families. Just before leaving, she set up a crowd-funded campaign that was met with overwhelming support. She used that funding to directly support families both in Poland and Ukraine, and efforts to ferry families to the border from the East through the purchase of a minibus, as well as arranging shipment of a recon drone, medical supplies, body armor, and more. It all finds its way into the paintings. It was then she thought of the idea to start a nonprofit to rebuild housing for Ukrainians in the West of the country, investing in Ukraine itself and providing homes for the millions of internally displaced people. (At last estimate, UNHCR says 7-8 million).

Nadya’s first trip resulted in source photographs of the border crossing and pro-Ukraine rallies in Krakow, as well as plans for a second trip for the couple in May. In his artistic practice, Mishael’s paintings ultimately begin as photographs: this was the first time his source material had come from someone other than himself, and his and Nadya’s journeys inspired this new series focused exclusively on Ukraine.

Nadya Tkachenko at the Ukraine-Poland border in March, helping ferry families to shelters in the *Slava Ukraini* (Glory to Ukraine) Bus.

Reflecting on a Ukrainian sense of place, its rupturing with the loss of peace, and the story of uncounted refugees at an unprecedented historical moment, Mishael’s images traverse a country at a crossroads of great devastation, sadness and brutality, but also filled with the incredible strength, resilience, compassion and humanity that Nadya and Mishael witnessed firsthand. On a deeper level, this series also explores our ability to unite in circumstances of turmoil, how a shared fate has brought out the good in so many people, and the importance of hope. Amazingly, Nadya's name in Ukrainian--Nadiya--means “hope.”

Since her return, Nadya has set up the nonprofit Project NADIYA for rebuilding and renewal of Ukraine, and has so far raised over $150K towards housing in Ukraine.

In May, the couple canceled a long-awaited trip to the South of France and reconfigured flights to head to Ukraine together, bringing with them around 300 lbs of supplies in huge duffel bags, which the airlines checked for free. They spent time in Krakow and Przemyśl, Poland meeting and supporting recent refugees, a day in Lviv, Ukraine photographing and meeting with architects about the designs for housing – capturing around a thousand photographs and making additional drawings. Mishael describes historic monuments covered in sandbags, and stained glass windows hidden by sheet metal in an effort to save them from shrapnel, huge placards and posters everywhere urging смілість (smilist): courage.

Mishael and Nadya dropping off the supplies they hand-carried with a contact in Lviv, Ukraine in May. These supplies were then ferried to the front by early June.

In the southwestern city of Uzhhorod, Nadya met with government officials to discuss refurbishing older buildings into housing, while Mishael drew and photographed the city and its people. The artist also noted that the emotion of the situation was difficult to capture visually alone – trying to find the delicate balance between documenting the situation through photography and respecting the emotional impact of the war on Ukrainians was not easy.

Mishael Coggeshall-Burr, *Close the Sky*, 2022, Oil on canvas, 10 x 8 in., $950

This series of paintings differs from past artworks – instead of recalling pleasant memories of travel, these paintings aim to highlight the war from a perspective many Americans may not have seen yet, and in doing so, Coggeshall-Burr hopes to raise both awareness and funds necessary to aid Ukrainians directly impacted by the war. In a time where we are inundated by news from television and social streams, the purpose of the painting is to allow us to focus on the issue at hand in a slower way, take time to think about it, and contribute to the relief efforts. They aim to more deeply resonate with the viewer in a unique way.

The series will debut at his home gallery in Montague, MA in October 2022 and then the show will travel to Abigail Ogilvy Gallery (Boston, MA) where the artist is represented. In addition to the paintings and drawings on view, Coggeshall-Burr recorded sounds of cities: peace protests in Krakow, people going about their days in Uzhhorod – bringing a further sense of memory and reflection to the body of work.

Ukrainian refugees from all walks of life gather for a peace rally every day in Krakow, Poland, They march to the US embassy, chanting that NATO "close the sky, save Ukraine, save the world.”

Exhibition Highlights from the Institute of Contemporary Art, May 2022

May 26, 2022 Abigail Ogilvy

The Institute of Contemporary Art is known for its commitment to providing public access to reflective, inspirational, and provocative contemporary art, and its recent exhibitions are no exception. Last week, we were thrilled to visit our neighboring institution to see two stand out shows that examine the power of perception and the reimagined genre of figurative painting.

A Place for Me: Figurative Painting Now

Doron Langberg, *Bather,* 2021, Oil on Linen, 96 x 80 in.

Gisela McDaniel, *Legacy,* 2020, jewelry from subject-collaborator, flower, resin, sound, 36 x 50 x 5.5 in.

A Place for Me: Figurative Painting Now, located on one of the ICA’s top floor galleries, was the first stop on our visit. The exhibition features work from eight different artists, serving as an evocative examination of what it means to see and be seen through an array of techniques and perspectives. Doron Langberg’s work stood out: in particular, his large-scale format and vivid palette providing a sharp juxtaposition of the mundanity of everyday life and the figurative reality that exists beyond. Langberg effectively captures the intimacy of the ordinary and transforms it into something extraordinary, creating a space where queer voices can flourish.

AOG intern Sidney Pilot notes: “I was also drawn to Gisela McDaniel’s work, her use of audio and portraiture working in tandem to create a powerful statement about the reclamation of power for female and nonbinary people of color.” McDaniel uses the term “womxn” when speaking about her subjects, aiming to create a space built on trust and care. She invites each sitter to decide how they are portrayed, pairing the finished work with an audio interview captured during the process. The result is a captivating multi-media display of strength, resilience, and empowerment of both community and self.

Napoleon Jones-Henderson: I Am As I Am – A Man

Installation view: *I Am As I Am— A Man.* On view through July 24, 2022. (might want to edit to tone down the yellow floors)

Located right across the hallway was Roxbury native, Napoleon Jones-Henderson’s solo exhibition, I Am As I Am – A Man. The show serves as a snapshot of over 50 years of work, featuring a variety of mixed-media pieces displayed against vibrant backdrops of sunset orange, lime green, and sky blue. Intricate woven textiles, shrine-like sculptures, and eye-catching mosaics work to capture the experiences and cultures of the African diaspora, creating powerful pieces that both affirm the struggles of the past and look towards advancements of the future.

His textiles were incredibly intriguing, and leaves visitors thinking about their respective messages long after visiting. Jones-Henderson’s use of glittering thread, poignant phrases, and saturated color creates pieces that are as captivating as they are expressive, serving as a commentary on racial justice and Pan-Africanism in America.

There is still time to catch both shows on view at the ICA Boston!

Written by Sidney Pilot

Exhibition Highlights from New York City, January 2022

January 25, 2022 Abigail Ogilvy

Last week, our Associate Director, Kaylee Hennessey, joined members of Gallery NAGA for a trip to New York City to see how some Chelsea galleries were heading into 2022. As gallerists and curators, it is always important for us to know what is going on in the world and to see what fellow galleries have on view. A continuation of the celebration of figurative work, craft, and vibrant color were prominent elements across the neighborhood. Here are our takeaways for the year’s fresh start.

Installation view: Jennifer Packer, *The Eye Is Not Satisfied With Seeing* at the Whitney Museum of American Art (on view: Oct. 30, 2021 - April 17, 2022) Artwork pictured: Blessed Are Those Who Mourn (Breonna! Breonna!)

Jennifer Packer at the Whitney Museum of American Art

Gallery wall of Jennifer Packer’s figurative paintings, Whitney Museum of American Art.

Our first stop was the Whitney Museum of American Art, where we worked our way down four floors of exhibition space. The top floor hosted a solo exhibition of fiercely colorful paintings by Jennifer Packer, featuring over 30 works from the past decade. I was very drawn to her figurative works above all. Packer weaves her subjects through the compositions, often abstracting features or sections of the body in a dreamy wash omitting detail, while features like the hands and feet are beautifully rendered in full detail, highlighting her technical abilities.

This was a standout exhibition, and a fantastic start to a great day of gallery hopping.

Liza Lou at the Whitney Museum of American Art

A few floors down, Making Knowing: Craft in Art, 1950-2019, yielded a satisfyingly textural collection of artworks featuring decades of material exploration and visibly process-driven pieces. Rounding the corner towards the end of the exhibit put me face to face with Liza Lou’s Kitchen, a piece I have personally long-admired but had yet to experience in person. Created between 1991-96, Liza Lou’s life sized, 168-square-foot kitchen is “a tribute to the unsung labor of women throughout time” (Whitney). Covered in millions of glass beads, one could spend hours examining the details and still manage to see something new with each glance.

Liza Lou’s Kitchen, 1991-96. On view at the Whitney Museum of American Art through February 20, 2022.

James Castle at David Zwirner

On the top floor of David Zwirner’s West 20th Street location was a solo exhibition of works by Idaho-based, 20th century artist, James Castle. Small drawings on found paper gave an intimate view into the artist’s life. The scale of Castle’s work was just as cozy and warm as his subjects, often loose and architectural, but always very home-centric. The works were paired with Castle’s bundles and boxes, which contained his drawings in groupings and were dispersed throughout the family’s property during his lifetime as a way to store his artwork.

Seismograph of Color, Abraham Palatnik at Nara Roesler

A retrospective of the late Brazilian artist’s work, Seismograph of Color combined conceptual canvases and geometric abstract sculpture that radiated strong energies across the gallery. Palatnik’s artwork immediately conveyed a strong Bauhaus influence. His optic and kinetic works created a visual dialogue that bounced viewers around the room, drawing them in to examine the details of his cut and assembled canvases and the intricacies of his process.

Abraham Palatnik, *W-H180*, 2019. Acrylic paint on wood. 43 1/10 × 67 3/5 × 1 3/5 in. On view at Nara Roesler through March 3, 2022.

Steve Locke at Miles McEnery Gallery

Stumbling upon a familiar face from the Boston art scene was one of the trip’s best moments. A selection of Steve Locke’s Homage to the Auction Block series was exhibited alongside artists “highlighting the complexities around issues of authorship and origin.” (Miles McEnery)
Inspired by the color studies of Josef Albers, Locke’s Auction Blocks nod to the complex racial histories of Western Modernism.

Maria Nepomuceno: Roda Das Encantadas at Sikkema Jenkins & Co.

Sprawled across the floor of Sikkema Jenkins & Co. was a captivatingly large installation of beads, woven palm, rope, and materials rich in texture and color. Paired with wall pieces that commanded an equal amount of attention, Maria Nepomuceno’s artwork transformed the white wall space into an experiential installation emphasizing her skill and craftsmanship. I dreamt of sitting smack in the middle of the floor installation and joining the world of figures she had crafted (unfortunately, that is frowned upon in most art spaces).

Overall, it was great to see what NYC has on view right now and we look forward to exploring Los Angeles next month!