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Archive for the ‘Jane Gryn’ Category

The Nijinsky project – Faun by Jane Bustin – Art Night London – July 7

In Art Night, Art NIght London, BFI, Copperfield, Gallery, Isaac Gryn, Jane Bustin, Jane Gryn, John Snijders, Marriot, Nijinsky, Uncategorized on 03/06/2018 at 4:43 pm

The Nijinsky project – Faun by Jane Bustin

A performance and installation featuring:

Dancer, Isaac Gryn

Pianist, John Snijders

Art Night London – July 7

King George V Room, Marriott, London County Hall, Westminster Bridge Rd, South Bank, London SE1 7PB

Faun is a performative installation by artist Jane Bustin, inspired by Nijinsky’s iconic work, the first modernist ballet, L’après-midi d’un faune. Bustin presents six artworks each featuring the 1933 biography of Nijinsky by his wife Romola. The live premiere performance conceived by the artist, features her son, dancer Isaac Gryn, alongside a deconstructed version of Debussy’s original composition, titled Afternoon, specially composed by pianist and artistic director of the Ives Ensemble, John Snijders, and will be played live. The installation explores themes of structure and geometry found within relationships of nature and nurture, perfection and failure. Alongside a publication text by curator Poppy Bowers.

Performances at: 6.30pm, 7.30pm and 8.30pm
running time: 13 minutes

Pre-registration required/walk-ins will be admitted depending on capacity

https://www.eventbrite.com/e/the-nijinsky-project-faun-by-jane-bustin-tickets-47239788479

http://2018.artnight.london/projects/jane-bustin/

http://www.copperfieldgallery.com/jane-bustin.html

https://www.marriott.co.uk |

Instagram @janebustin

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Ashley Lyon | Jane Bustin, Modern Domestics, Jane Lombard Gallery, Nov 2 – Dec 21 2017

In 19th St, Ashley Lyon, Jane Bustin, Jane Gryn, Jane Lombard, Jane Lombard Gallery, Lisa Carlson, Modern Domestics, Uncategorized on 11/10/2017 at 10:55 am

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MODERN DOMESTICS

ASHLEY LYON | JANE BUSTIN

 

November 2 – December 21, 2017

Opening Reception: November 2, 6-8pm

 

JANE LOMBARD GALLERY

518 W 19 St. New York 10011

http://www.janelombardgallery.com

Jane Lombard Gallery is pleased to announce Modern Domestics, a two-person exhibition with Ashley Lyon and Jane Bustin. Using quotidian objects as the foundation for their work Lyon and Bustin’s practices similarly evoke the mixed sentiments found in domiciliary settings: equally comforting and melancholic, durable and decayed. Together they celebrate the agency and strength granted in self-actualization by means of owning aesthetic and sentimental environments, the ability to maintain, preserve and reinvent the container of personal experience. The works featured not only encompass time, memories and human sensation but also access a certainty of selfhood in the particularly gendered territory of the home.
Lyon and Bustin employ methodologies of the emotional labor owed to materials closely connected to shared biographies combined with the physical labor of thoughtful creation. Ashley Lyon’s sculptures are detailed replicas of objects inherently soft in nature with heightened tactile and wistful character; they are meticulously copied into ceramic material, converted into something solid yet easily damaged. During the meditative experience of looking at and delicately crafting these familiar possessions, the tenderness and warmth of home is embedded. Lyon’s duvets, mattresses and floor tiles expand the location of where corporal sensation remains, they oscillate between atemporal representations of everyday items and uncanny beings striving toward the realism found within the storytelling of their unique marks and textures.
Jane Bustin combines traditional and contemporary materials, exploring the dichotomy between their abstract minimalist composition and the sentimental qualities of ceramic, textiles and found objects. Concerned with deconstructing the formal components of abstraction, she considers the properties and arrangement of materials, extending the link between craft, concept and movement. Bustin likens her grandmother’s laundering, baking and crocheting routines to the type of diligence she applies as an artist; folding, flattening and rolling until the organic is contained. The pale tones, reflective surfaces and intuitive organization prompt a tenderness and familiarity reminiscent of a bedroom vanity, a micro space of solace within the home. The artists maneuver a relationship between the object’s ontology and their transformation into vehicles of psychological projection; a parallel to the work’s intimate development in the studio against their perceptive contextual availability in the gallery.
Modern Domestics asserts the complexity of emotional security found in the home and the histories amassed in objects of comfort, those of the life interior. The work affirms domesticity as a uniquely feminine domain, a beacon of safety and transcendence from the transgressions of modernity. Although aware of its unequivocal hybridity with fragility and temporality, it is deemed private, everlasting and manageable against the volatile anxieties of the external.
Ashley Lyon (b.1983 in Palm Springs, CA) lives and works in Newburgh, NY. Lyon received a BFA in Ceramics from the University of Washington and an MFA in Sculpture + Extended Media from the Virginia Commonwealth University. Her work has been exhibited at Bemis Center for Contemporary Art, Omaha, NE; Hunter College, New York, NY; SUNY Cortland, Cortland, NY; The Sculpture Center, Cleveland, OH; Alfred Ceramic Art Museum, Alfred, NY and Jane Lombard Gallery, New York, NY.
Jane Bustin (b.1964 in London, UK) lives and works in London, UK. She studied a Portsmouth Univerisity, UK and Laboratorio per Affresco, Prato, Italy. Her work has been exhibited at The British Library, London, UK; Walker Art Gallery, Liverpool, UK; Ferens Art Museum, Hull, UK; Kettles Yard, Cambridge, UK; Whitechapel Gallery, London, UK; Ingleby Gallery, Edinburgh, UK; Copperfield, London, UK and Leslie Gallery, Berlin, Germany.

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Anatole Notes (part 1) by Jane Bustin – press release

In abstract, Art, Artprojx, Battersea, David Gryn, Jane Bustin, Jane Gryn, Jerwood Drawing, John Moores Painting Prize, London, Mallarme, Man Ray, Minimal Art, painting, Testbed 1, Will Alsop on 17/07/2012 at 2:36 pm

– sacrificed
– to veil
– sacrifiés
– pour voiler

Anatole Notes (part 1) by Jane Bustin

with

Les Mystères du Château de Dé by Man Ray

presented by Artprojx

Testbed 1

33 Parkgate Road, Battersea, London SW11 4NP

29 August – 2 September 2012. 11am – 6pm daily

Private View: Wednesday 29 August. 6 – 8pm. 

RSVP events@artprojx.com

PRESS RELEASE

The Anatole Notes project consists of assembled groupings of paintings, objects, paper and letterpress text. Each assemblage reflects on the unfinished fragmented poems ‘Pour un Tombeau d’Anatole’ by Stephane Mallarmé (1879), ‘a tomb for Anatole’ translated by Paul Auster (1983). These fragmented phrases are Mallarmé’s attempt to come to terms with the death of his eight year old son Anatole. The sound and the visual arrangement of Mallarmé’s poems were as important as the meaning. His most famous poem ‘un coup de dés’ was a major influence on hypertext and has been the subject matter for many artists including Man Ray, Marcel Broodthaers.

Bustin’s reflections on his texts attempt to combine the written words with visual equivalents to reveal the expansive meaning of the text. Each work consists of three or four painted objects arranged on the wall and floor; they are made of various materials e.g. wood, linen, paper, metal, oil paint and readymade chairs. The Mallarmé text has been hand letter-pressed onto paper or linen by New North Press. The use of the architecture and the derelict state of the exhibition space at Testbed, echoes the emptiness and barren nature of the Anatole texts.

Artprojx presents: Les Mystères du Château de Dé, 1929, film 35mm by Man Ray. 25 mins (continuous screening as part of the Anatole Notes exhibition throughout the day).

The longest of Man Ray’s films, Les Mystères du Château de Dé, follows a pair of travelers on a journey from Paris to the Villa Noailles in Hyères, built by the architect Robert Mallet-Stevens with a cubist garden designed by Gabriel Guevrekian. This modernist collaboration was made as an architectural document and inspired by Mallarmé’s poem ‘Un coup de dés jamais n’abolira le hasard’.

Jane Bustin has been selected for the 2012 John Moores Painting Prize and the Jerwood Drawing Prize 2012. Bustin has been in numerous group exhibitions including Kettles Yard Cambridge, Ferens Museum (Hull), Southampton City Art Gallery, Djanogly Gallery (Nottingham), Royal Academy (London) and recently at the B55 Gallery (Budapest). Bustin has had solo shows at The Eagle Gallery (London), Artprojx Space (London) and The British Library (London). Her work is in several collections including V&A Museum (London), Yale Center USA, Ferens Museum (Hull). http://www.janebustin.com

Contact: David Gryn david@artprojx.com +447711127848 http://www.artprojx.com

Press info, pricelist, images, more information all available on request

Venue info and directions: http://www.thedoodlebar.com/

Image:

– sacrificed
– to veil

– sacrifiés
– pour voiler
by Jane Bustin

at John Moores Painting Prize 2012 

and other Anatole Notes works at Jerwood Drawing prize

Jane Bustin in Calligrams at the Eagle Gallery, London – ends 24 July

In abstract, Art, Artprojx, David Gryn, Eagle Gallery, Eagle Pub, Emma Hill, Estelle Thompson, Jane Bustin, Jane Gryn, Kevin Finklea, Matt Magee, minimalism, Sue Hubbard on 23/06/2010 at 8:48 am

les dernieres fleurs by Jane Bustin

CALLIGRAMS 24 June – 24 July 2010
Jane Bustin, Kevin Finklea, Matt Magee, Estelle Thompson

The Eagle Gallery

159 Farringdon Road

London EC1R 3AL

open Weds-Fri 11am-6pm and Sat 11am -4pm

0207 833 2674

www.emmahilleagle.com

emmahilleagle@aol.com

detail of les dernieres fleurs by Jane Bustin

CALLIGRAMS 24 June – 24 July 2010
Jane Bustin, Kevin Finklea, Matt Magee, Estelle Thompson

Calligrams features four artists whose work explores contemporary paths of minimalist abstraction. The exhibition brings together UK-based painters Jane Bustin and Estelle Thompson with American artists Matt Magee and Kevin Finklea.

Calligrams poses questions about the challenge involved in reinventing non-representational genres. The artists work within traditional parameters of colour, form and support, yet each in individual ways extends them.

Echoes of Suprematism and Colour Field abstraction are evident in the work of Kevin Finklea and Estelle Thompson, in the use of geometric forms and the manipulation of ranges of complex, high-keyed colours.

Finklea’s recent paintings arise from memories of place and time and have moved off the two-dimensional picture plane into three-dimensional reliefs. The range and vocabulary of Finklea’s colour, whether the exclamatory blush of two contrasting pinks or the meditative quality of a light blue are focused and projected into space through these sculptural forms
.
The intense colours and re-worked surfaces of Estelle Thompson’s oils on panel bring to mind a range of associations from past traditions in painting, from the shimmering light of Renaissance frescos to the distressed surface of Jasper Johns ‘Flag’. Thompson’s nuanced surfaces act in counterpoint to her plays with geometric form, in which a simple division of a rectangle can offer myriad visual possibilities.

Matt Magee’s more emblematic paintings employ simple pictograms such as punctuation marks or numbers, as a way of incorporating language into the work under his own abstract terms. Formally satisfying simply as shapes, these signs are also weighted with exclamatory meaning and are held within surfaces of painterly marks.

Jane Bustin’s investigations into the potential for the abstract image to allude to emotional states or metaphorical ideas are closest perhaps to traditions of the sublime in abstraction. Exploring sources in literature, her recent series of works are made in response to Mallarmé’s volume of poems ‘’Pour Anatole un tombeau’. Employing a range of materials and supports the work has moved into the territory of installation where related paintings and text are sited in three-dimensional arrangements.

Jane Bustin is represented by the Eagle Gallery. Her most recent solo exhibition Unseen – A collaboration, took place at the British Library, London.

Kevin Finklea’s recent solo exhibition Memories are Uncertain Friends was held at Margaret Thatcher Projects, New York.

Matt Magee’s forthcoming solo show takes place at the Knoedler Gallery, New York.

Estelle Thompson is represented by the Purdy Hicks Gallery, where she had a solo show In 2009.

detail of les dernieres fleurs by Jane Bustin

Contact: Jane Bustin

janebustin@hotmail.com

http://www.janebustin.com/

https://davidgryn.wordpress.com/

www.artprojx.com

detail of les dernieres fleurs by Jane Bustin

Calligrams opens Weds 23 June at The Eagle Gallery featuring Jane Bustin

In abstract, Art, Artprojx, David Gryn, Eagle Gallery, Eagle Pub, Emma Hill, Estelle Thompson, Farringdon, Gryn, Jane Bustin, Jane Gryn, Kevin Finklea, London, Matt Magee, Minimal Art, minimalism, painting on 08/06/2010 at 8:08 am

Beloved by Jane Bustin

Jane Bustin features in the forthcoming show

CALLIGRAMS

Join us for drinks at the Private View 6.30pm-8.30pm on June 23rd

Exhibition runs 24 June – 24 July

The Eagle Gallery

159 Farringdon Road

London EC1R 3AL

open Weds-Fri 11am-6pm and Sat 11am -4pm

0207 833 2674

www.emmahilleagle.com

emmahilleagle@aol.com

les derniers fleurs by Jane Bustin

CALLIGRAMS 24 June – 24 July 2010
Jane Bustin, Kevin Finklea, Matt Magee, Estelle Thompson

Calligrams features four artists whose work explores contemporary paths of minimalist abstraction. The exhibition brings together UK-based painters Jane Bustin and Estelle Thompson with American artists Matt Magee and Kevin Finklea.

Calligrams poses questions about the challenge involved in reinventing non-representational genres. The artists work within traditional parameters of colour, form and support, yet each in individual ways extends them.

Echoes of Suprematism and Colour Field abstraction are evident in the work of Kevin Finklea and Estelle Thompson, in the use of geometric forms and the manipulation of ranges of complex, high-keyed colours.

Finklea’s recent paintings arise from memories of place and time and have moved off the two-dimensional picture plane into three-dimensional reliefs. The range and vocabulary of Finklea’s colour, whether the exclamatory blush of two contrasting pinks or the meditative quality of a light blue are focused and projected into space through these sculptural forms
.
The intense colours and re-worked surfaces of Estelle Thompson’s oils on panel bring to mind a range of associations from past traditions in painting, from the shimmering light of Renaissance frescos to the distressed surface of Jasper Johns ‘Flag’. Thompson’s nuanced surfaces act in counterpoint to her plays with geometric form, in which a simple division of a rectangle can offer myriad visual possibilities.

Matt Magee’s more emblematic paintings employ simple pictograms such as punctuation marks or numbers, as a way of incorporating language into the work under his own abstract terms. Formally satisfying simply as shapes, these signs are also weighted with exclamatory meaning and are held within surfaces of painterly marks.

Jane Bustin’s investigations into the potential for the abstract image to allude to emotional states or metaphorical ideas are closest perhaps to traditions of the sublime in abstraction. Exploring sources in literature, her recent series of works are made in response to Mallarmé’s volume of poems ‘’Pour Anatole un tombeau’. Employing a range of materials and supports the work has moved into the territory of installation where related paintings and text are sited in three-dimensional arrangements.

Jane Bustin is represented by the Eagle Gallery. Her most recent solo exhibition Unseen – A collaboration, took place at the British Library, London.

Kevin Finklea’s recent solo exhibition Memories are Uncertain Friends was held at Margaret Thatcher Projects, New York.

Matt Magee’s forthcoming solo show takes place at the Knoedler Gallery, New York.

Estelle Thompson is represented by the Purdy Hicks Gallery, where she had a solo show In 2009.

Four Rectangles (for KM) by Estelle Thompson

Geary Street by Kevin Finklea

Division by Matt Magee

FACEBOOK

JANE BUSTIN in Calligrams – EAGLE GALLERY opening 23 JUNE

In abstract, Art, Artprojx, Culture, David Gryn, Eagle Gallery, Emma Hill, Entertainment, Estelle Thompson, Gryn, Jane Bustin, Jane Gryn, Kevin Finklea, Matt Magee, Minimal Art, minimalism, painting on 27/05/2010 at 3:17 pm

Jane features in the forthcoming show

Calligrams.

Join us for drinks at the Private View starting at 6.30pm on June 23rd

24 June – 24 July

The Eagle Gallery

159 Farringdon Road

London EC1R 3AL

open Weds-Fri 11am-6pm and Sat 11am -4pm

0207 833 2674

www.emmahilleagle.com

emmahilleagle@aol.com

Jane Bustin les dernieres fleurs 2010


Kevin Finklea Geary Street 2010 – in progress


Matt Magee Division 2009


Estelle Thompson Four Rectangles (for KM) 2009

Contact:

Jane Bustin

www.janebustin.com

janebustin@hotmail.com


CALLIGRAMS 24 June – 24 July 2010
Jane Bustin, Kevin Finklea, Matt Magee, Estelle Thompson

Calligrams features four artists whose work explores contemporary paths of minimalist abstraction. The exhibition brings together UK-based painters Jane Bustin and Estelle Thompson with American artists Matt Magee and Kevin Finklea.

Calligrams poses questions about the challenge involved in reinventing non-representational genres. The artists work within traditional parameters of colour, form and support, yet each in individual ways extends them.

Echoes of Suprematism and Colour Field abstraction are evident in the work of Kevin Finklea and Estelle Thompson, in the use of geometric forms and the manipulation of ranges of complex, high-keyed colours.

Finklea’s recent paintings arise from memories of place and time and have moved off the two-dimensional picture plane into three-dimensional reliefs. The range and vocabulary of Finklea’s colour, whether the exclamatory blush of two contrasting pinks or the meditative quality of a light blue are focused and projected into space through these sculptural forms
.
The intense colours and re-worked surfaces of Estelle Thompson’s oils on panel bring to mind a range of associations from past traditions in painting, from the shimmering light of Renaissance frescos to the distressed surface of Jasper Johns ‘Flag’. Thompson’s nuanced surfaces act in counterpoint to her plays with geometric form, in which a simple division of a rectangle can offer myriad visual possibilities.

Matt Magee’s more emblematic paintings employ simple pictograms such as punctuation marks or numbers, as a way of incorporating language into the work under his own abstract terms. Formally satisfying simply as shapes, these signs are also weighted with exclamatory meaning and are held within surfaces of painterly marks.

Jane Bustin’s investigations into the potential for the abstract image to allude to emotional states or metaphorical ideas are closest perhaps to traditions of the sublime in abstraction. Exploring sources in literature, her recent series of works are made in response to Mallarmé’s volume of poems ‘’Pour Anatole un tombeau’. Employing a range of materials and supports the work has moved into the territory of installation where related paintings and text are sited in three-dimensional arrangements.

Jane Bustin is represented by the Eagle Gallery. Her most recent solo exhibition Unseen – A collaboration, took place at the British Library, London.

Kevin Finklea’s recent solo exhibition Memories are Uncertain Friends was held at Margaret Thatcher Projects, New York.

Matt Magee’s forthcoming solo show takes place at the Knoedler Gallery, New York.

Estelle Thompson is represented by the Purdy Hicks Gallery, where she had a solo show In 2009.

FACEBOOK