Lynn Saville + Ahmad Sabha
Artist Talk with Lynn Saville on Saturday, December 2 from 11am to 12:30pm
Hodges Taylor is pleased to present SILHOUETTE: Lynn Saville + Ahmad Sabha pairing Manhattan-based photographer Lynn Saville's series, Dark City: Urban America at Night, with new sculptures by Charlotte-based artist Ahmad Sabha. Hodges Taylor will host an opening reception with the artists on Friday, November 3 from 6 to 8pm. In conjunction with this exhibition, Saville will host a workshop on nighttime photography at The Light Factory on December 2-3, 2017. The exhibition will be on view through January 26, 2018.
Lynn Saville, born in Durham, North Carolina, lives and works in New York City. She specializes in photographing cities and rural settings during, as she describes it, “the boundary times between night and day.” Saville’s photographs depict urban and industrial sites in rare moments of quiet. Saville’s series, Dark City, focuses on momentarily uninhabited urban spaces at twilight, conveying an outside-of-time stillness through shapes, shadows and the occasional trace of a figure. Saville skillfully selects and frames sites that invite curiosity as to what they once were and what they will become.
Ahmad Sabha, of Acre, Israel, is a civil engineer for the city of Charlotte. Inspired by the water towers and silos that punctuate a city’s skyline, Sabha's ceramic, metal and concrete sculptures reinterpret these utilitarian structures. Sabha crafts almost reductive sculptures, paying homage to the beauty of their core function. His fascination started one summer spent in New York City early in his engineering career. That summer, Sabha escaped to sketch on rooftops and found shade beneath one of the many water towers that interrupt the horizon. Their silhouettes imprinted in his memory and from that moment on, Sabha saw them everywhere.
This exhibition discloses aspects of the city that usually go unnoticed, because we are routinely absent at certain hours or because our routine presence takes them for granted. Both inspired initially by New York City, Saville and Sabha offer two takes on oftentimes out-of-sight structures and sites found in every major metropolitan. Through diverse mediums, their work discusses the city as subject in a way that is both reverent and revealing.
in collaboration with David Lusk Gallery
September 1 - October 27, 2017
Hodges Taylor, in collaboration with David Lusk Gallery, is pleased to present recent paintings and sculptures by Kit Reuther. Nashville-based and self-taught, Reuther’s work has evolved over her career from realism to complete abstractionism. Reuther’s playful take on the confines of geometry stems from her intuition, rather than any particular rubric or subject matter. She contemplates a canvas and shapes a sculpture with meditative restraint. As Reuther states, “I try to avoid making art with an intended outcome or message for the viewer. My only real intention is to make work that pushes and challenges me and feels slightly odd and fresh to my eyes.” Reuther’s casually elegant approach to line, form and color provide respite from rules and an approachable richness in their subtleties.
Elizabeth alexander: I May not be a lion
April 7 - June 18, 2017
Hodges Taylor Art Consultancy is pleased to present the exhibition, ELIZABETH ALEXANDER: I May Not Be a Lion. Alexander deconstructs and reconstructs appropriated materials to question symbols of femininity, domesticity and class and confront the American dream. I May Not Be A Lion references Queen Elizabeth I's iconic quote about underestimation: "I may not be a lion, but I am a lion's cub and I have a lion's heart." The exhibition is a survey of works that use removal and rearranging of decorative embellishment through different cutting and assemblage techniques in various forms of sculpture, collage, and photography. Found porcelain, images of porcelain, formal gardens, party dresses, furniture, and antique wallpaper are dissected and reorganized to visualize the cost and absurdity of social climbing through material veils.
Elizabeth Alexander is an interdisciplinary artist specializing in sculptures and installations made from paper and found objects. She holds an MFA in sculpture from the Cranbrook Academy and BFA from Massachusetts College of Art. She has fellowships from the Massachusetts Cultural Council, the St. Botolph foundation, Barbara Deming Memorial Fund, and was awarded the title “Best Artist of Boston” for 2014 by Improper Bostonian magazine. She frequently exhibits nationally including recent participation in shows at the Currier Museum of Art in Manchester, NH, the Minneapolis Institute of Art in Minneapolis, MN, the Telfair Museums in Savannah, GA and SECCA in Winston-Salem, NC. Her work was chosen for State of the Art: Discovering American Art Now, an exclusive survey of emerging American art by the curators of the Crystal Bridges Museum, which is on view at The Mint Museum in Charlotte, NC until September 3, 2017. Alexander regularly serves as a guest speaker, juror, and critic at various educational institutions including the Massachusetts Cultural Council. She is currently Assistant Professor at the UNC School of the Arts.
cusp: photographs of contemporary girlhood
BY CAROLYN DEMERITT AND MARGARET STRICKLAND
The girl as a referent in photography traces arguably from Lewis Carroll’s coquettishly Victorian Alice to Nabokov’s postwar scandalous innocent, Lolita, to Francesca Woodman’s grit and gumption of the 1970’s to Collier Schorr’s androgynous adolescence of the 1990’s, when a noted trend of the girl as subject emerged in contemporary photography. As scholar Dr. Catherine Grant states, “Rather than simply replaying stereotypes of femininity, the figure of the girl has been used by many contemporary artists to question the stability of sexual and gendered identity.” Thus, girlhood serves as a place where strict constructions of gender and sexuality find little refuge. As gender theorist Judith Butler suggests, “Gender is a kind of imitation for which there is no original.” Girlhood as subject becomes an allegorical lens through which to expand the discourse on gender.
Created nearly thirty years apart, Carolyn DeMeritt and Margaret Strickland’s poised portraits of girlhood commingle to create a site of encounter between gender identity, gender performance and the tensions therein. From her 1986 to 1990 series, “When I Was Little…I Thought I Could Fly”, DeMeritt photographed her close friend’s daughters in backyards of family homes, each year, as they grew from childhood to girlhood. Taken in 2016, Strickland’s portraits documenting her three nieces, two of whom are twins, are set against the background of cicada nights and hot, humid summer days, and seek to understand how girls’ identities are influenced by southern cultural norms, an inherited femininity, and broader gendered expectations. In photographing friends and family, the girls’ statures reflect a realm of comfort and shared female identity in their relationship with the artist, with the camera, and in turn with us, as after the fact voyeurs. DeMeritt and Strickland’s girls are on the cusp, between girlhood and womanhood, but also on the cusp of forgetting that place where for a fleeting moment, at least according to the outside world, we were all a work-in- progress.