Installation of exhibition at Madron Gallery. Image courtesy of Madron Gallery.
On View: March 4 - June 14, 2024
Artist Reception: Thursday April 4, 2024 5:30-8:30 PM (open to the public)
Exhibiting Artists: Andrew Arkell, Zach Balousek, Michael Banning, Shel Howard Beugen, Jess Beyler, Margie Criner, Matthew Cortez, Kara Cobb Johnson, Matt Kuhlman, Ruben Lima, MISU, Alison Mosher, Kristen Phipps, Joseph Royer, and Bruce Thorn
What is the place of symmetry in relationship to art?
Joseph Royer, Arena, 2021, Graphite on vellum, 16 x 16 inches
Joseph Royer, Witness, 2019, Graphite and colored pencil on vellum, 10 1/2 x 9 1/2 inches
Joseph Royer, Receptors 2019-2020, Graphite and colored pencil on vellum, 12 x 12 inches
David Burliuk (1882-1967), Abstraction, 1910, oil on canvas, 15 7/8” x 9 7/8”
The Fine Art of [David Burliuk] // 4.30.2024
“Everyone, even the most Ignorant and those with no interest in the Spiritual, perceives the eternal gulf that has arisen between the painting of yesterday and the painting of today. An eternal gulf. Yesterday we did not have art. Today we do.” –David Burliuk
The early days of the Russian Futurist movement were full of such bold proclamations, many coming from the mouth of one David Burliuk (1882-1967), widely considered the group’s founding father and leader. His clan of painters and poets referred to themselves as the Budetliane—“people of the future” or “those who will be”—and they worked out their ideas of where the Russian avant-garde needed to go in group exhibitions, public debates, and fragments of manifestoes written on the backside of cheap wallpaper. Burliuk liked to say that Russian Futurism was born in 1910 in a gray room in St. Petersburg; certainly it was the year his group began to coalesce in earnest, moving and thinking more as a unit. As such, Burkliuk’s 1910 painting “Abstraction” is an important work to consider, marking a critical turning point in his career.
Read more here.
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