CURRENT EXHIBITION: BODY OPTIMIZED
curated by POST VISION
Abi Laurel / Aitana Basquiat / Baptiste Kucharski / Clara Luzian / Devra Freelander / James Moore / Marcel C. Wilkins / Em Silver / Emma Stern / Ines Marzat / Janice Prempeh / Jason Ebeyer / Josefin Jonsson / Nicole Ruggiero / Olga Fedorova / Ruby Gloom / Simon Roulet / Stacie Antiptchouk / Tomas Aciego / Zak Ridge
Post Vision is pleased to partner with Beverly's for Body Optimized, our second IRL exhibition of the year.
Body Optimized highlights a group of digital artists whose work deals directly with female bodies in the context of virtual space. The female form is the common thread — placing these works within a larger dialogue surrounding female identity as our avatars become ever-more inextricable from our relationships with actual physical bodies. A global network of artists, including those presented in Body Optimized, are currently designing the cyber-female archetype in real time within the limitless playground of technology.
These cyber forms are proxies upon which we place our true desires, enabling us to decide whether they will manifest as heightened evolutions of our physical selves, or remain as an entirely fantasized other.
PAST EXHIBITION: BREATHE AND STOP (Q-TIP)
KAT CHAMBERLIN / TARIKU SHIFERAW
on view through ealy April
Beverly’s is excited to show this two person exhibition by artists Kat Chamberlin and Tariku Shiferaw. Chamberlin and Shiferaw both employ rigid geometries to create space for histories that have been overlooked or under appreciated. Through painting, drawing, installation, sculpture, and video - these artists’ various works comment on aspects of their cultures that, when celebrated, are simultaneously uplifted and trivialized. Shiferaw titles many of his works after music created by African Diasporas, such as Hip Hop, Jazz, and Blues. He segments the message and syncopation into systematic painted lines, shapes, and architectural responses that comment on power and censorship. Chamberlin’s multimedia works demonstrate acute technical and formal craft, as she dissects societal competition - referencing sports and niche activities/communities such as youth cheerleading. Shiferaw was born in Addis Ababa, Ethiopia and raised in Los Angeles. Chamberlin was born in the Netherlands and raised in Turkey. They both now live and work in New York.
Although aesthetically and materially different, both Shiferaw’s and Chamberlin’s works pay homage to rhythms and choreographed labor as forms of protest. These ideas, in combination with their complex experiences of home, of belonging and not belonging, frame their insights into structures and cultural practices that slyly shift to both exclude and welcome them.
ABOUT THE ARTISTS
Kat Chamberlin (Armenian/Swedish) is a multidisciplinary artist whose work responds to her experience of cultural multiplicity and conflict. Chamberlin’s work explores tribal frictions, abstractions as coping mechanisms, and our dependence on fragility. Her works have been exhibited across the U.S. and internationally, and featured in exhibitions at the Museum of Contemporary Art in Chicago, The Chicago Cultural Center, Barbara and Steven Grossman Gallery in Boston and Gana Art in New York City. Kat completed her MFA at the School of the Art Institute of Chicago and is the recipient of a Jacob K. Javits Fellowship, the Toby Devan Lewis Award and the William Dole Award.
Tariku Shiferaw (Ethiopia/United States) creates a body of work titled, ‘One Of These Black Boys,’ that explores mark-making through painting in order to address the physical and metaphysical spaces of societal structures. Shiferaw calls upon the act of physical marking as a perfomative utterance of one’s existence - altering the immediate physical space and introducing new ideas and boundaries. His work draws on cultural instruments of resistance against a system that tries to silence and erase Black bodies. Shiferaw received his BFA from The University of Southern California, and his MFA from The Parsons The New School for Design. Recent exhibitions include the 2017 Whitney Biennial as part of Occupy Museum’s Debtfair project, a group exhibition at The Museum of Contemporary Art Cleveland, and solo exhibitions at Addis Fine Art’s project space in London, and at Cathouse Proper in Brooklyn. His work has been featured on Hyperallergic, Washington Post, and Art In America. Shiferaw is currently an artist in residence of the Whitney Museum’s Independent Study Program.
SPECIAL PROJECT: THE MATERIAL ART FAIR MEXICO CITY
Beverly’s is excited to be showing with The Material Art Fair in Mexico City as a special project. We are showing sculpture, video, installation, and performance by
Colin Tom / Carolyn Sickles / Azikiwe Mohammed / Elise McMahon (Likeminded Objects) / Leah Dixon / Sean Fader / Sam Chun / Yeni Mao
The Material Fair, Feb 7 - 10, Frontón Mexico, CDMX
PAST EXHIBITION: EMMENAGOGUE GARDEN
JULIANA CERQUEIRA LEITE & ZOË CLAIRE MILLER
December 1st through late January
Beverly’s presents Zoë Claire Miller and Juliana Cerqueira Leite’s Garden. This new site-specific installation continues the duo’s international collaboration. For Beverly’s, Miller and Leite have transformed the bar into a lush herbal garden with sculptural planters for medicinal herbs, wall-hangings, scents, grow-lights, and recipes to cure and aid women’s issues.
Having met during the Moscow Young Art Biennale, Berlin-based Miller and Brazilian/American Leite began working together as a means to explore feminist themes and corporeal concerns. Their collaborations have always involved site-specific components, often including humor, and have been exhibited at Landing Strip Berlin, Kunsthaus Erfurt, RM Basics Munich, and now Beverly’s New York.
Throughout this country's history, American women of all different backgrounds have used natural remedies for family planning, adopted local plant knowledge, and learned about their bodies through the study of plants. Women produced herbariums (books of pressed plants that were identified and labeled), historically important texts and regional catalogues, and became proficient in plant-based medication. Herbs and other plants were used as natural contraceptives, emmenagogues (menstruation starters) and abortives.
This female-shared knowledge that had been passed down for countless generations has been largely erased from our memories by the pharmaceutical industry’s professionalization and capitalisation of the medical field. Perhaps in a time when many doctors overprescribe expensive medications, and when a newly appointed Supreme Court judge speaks more confidently about his love of beer than for his support for women’s rights, we can benefit from revisiting some of the practices and investigations of our female ancestors.
PAST EXHIBITION: LIQUID STATE MACHINE
curated by Paula Naughton
ALAN BUTLER / VICTORIA FU / JENNIFER MEHIGAN / ALAN WARBURTON / WICKERHAM & LOMAX
September 27, 2018 through early November
Liquid State Machine is a group exhibition that brings together artists who engage with technologies of connectivity and materiality through the virtual form. As is indicative of much of our social habits, many of the artists are linked to Beverly’s through its online network — the digital and real community blurred and merged as one. The circulation of cultural objects are now distributed and authenticated through networked images within these mediated platforms. Each artist speculates on complex subjects of authenticity, identity, spectatorship, and the performance of the self within the elude sociocultural space that exists between the screen and real environments.
Liquid State Machine, by Paula Naughton, offers a grouping of work that includes a new animated installation by Alan Butler, neon by Victoria Fu, painting by Jennifer Mehigan, series of portraits by Alan Warburton, and layered wall works as well as specially designed uniforms for Beverly’s staff by Wickerham & Lomax.
ABOUT THE ARTISTS
Alan Butler explores material and philosophical ideas about how imagery and meaning function in technologically mediated realities. For Beverly’s, Butler exhibits an animated installation stemming from previous work Down and Out in Los Santos. There, the artist hacked into the video game Grand Theft Auto, and took on the role of social documentarian, photographing the lives of homeless NPCs in the virtual city of Los Santos. One of the characters he encountered is at the centerpiece of his new work: a homeless NPC that bears a striking resemblance to conceptual artist Sturtevant. Proposing that a virtual algorithm of Sturtevant exists, Butler resurrects this portrait back into material form, and re-inserts Sturtevant into new modes of circulation.
Victoria Fu considers new conditions of cinematic spectatorship and image currency in the digital age. Fu creates audio-visual installations that interplay between object and image as meditations on sight, perception, and image-making. Often using imbued imagery that blurs the lines between the real and virtual, abstraction and representation, here Fu exhibits a large flashing neon hand that animates a familiar pinch-zoom movement. Absorbed into our muscle memory of pinch-zooming on screen space to enlarge images, the neon sculpture offers an interruption from slippery pixels, and a reminder of the politics of participation, and of the physical space our
Jennifer Mehigan confronts the performance of gender identity that is consumed and produced within our image economy. Spanning multiple platforms, mixing together 3D modeling, found / stock objects and images, text, textiles, video, painting, sound, scent, and installation, the objects and materials suggest human and non-human bodies merging. Fragmented narratives and mythologies perform an type of queer illegibility that recognizes its own participation in this image economy, but remains slippery enough to avoid being co-opted too enthusiastically.
Alan Warburton’s practice delves into the virtual image in contemporary culture. Much of his work exists as highly rendered virtual worlds built through laborious processes in 3D animation software. Created during these rendering downtimes, Lockheads offers a playful counter to these dense creations. By scanning his head and utilizing it as a virtual sculpture, Warburton performs drag in a series of portraits influenced by drag, carnival, and club culture. The resulting images on view at Beverly’s, question gender and technology, the performance of identity, and the authenticity of the self in social media.
WICKERHAM & LOMAX
Wickerham & Lomax is the collaborative name of Baltimore-based artists Daniel Wickerham and Malcolm Lomax. They are particularly invested in questions of identity and the body, exploring the impact of digital technologies and social spaces on the formation of subjectivities and speculative corporealities. Their practice, based on the accelerated exchange of frivolous information, gossip, and codified language, takes the form of diverse media, curatorial platforms, and networked virtualities. Working in response to specific contexts, here Wickerham & Lomax have designed multi-media wall portraits, as well as uniforms for the Beverly’s staff, as a way to both interrupt and highlight the bodies and individuals that form the fabric of this networked space.
PAST EXHIBITION: THE AIR
JESUS BENAVENTE / SAM BRANDEN / JO SHANE
Thursday July 12th through early September
THE AIR is an exhibition of three artists whose works address the friction between safety, celebration, and danger. Through flashing video and pop-like text, the manipulation of pre-existing objects, such as an interior escape ladder and child’s blankets, and large-scale, dark and quilt-like tapestries — these artists highlight how graphic forms, optics, and surveillance can create both a sense of warning, and stylized security. This exhibition’s situation within a nightlife venue is appropriate — as it is this tension between fragile notions of uncertainty and festivity, that often keeps us chasing the space along the blurry border of public and private.
Benavente is interested in parties as celebratory events that mark transitional stages in life — while also showing the sadness and loss for what preceded those celebrations. In Benavente’s video on view, party lights are replaced by flashing police sirens, dance songs are intercut with anti-protest sound cannons, and singalongs become protest chants. Dancing — be it in the streets, or in the club, is an emancipatory means of survival. It is finding happiness in a period of political transition and upheaval. Jesus Benavente holds an MFA from Rutgers University, a BFA from The University of Texas, and has attended The Skowhegan School of Painting and Sculpture, as well as Art Omi. Recent exhibitions include a performance at The Whitney Museum of Art, The Queens International, Perimeter Gallery in Belfast, The Forward Union Fair, and many others.
Jo Shane’s work is an amalgam of found, archived and manipulated objects that reference safety, sustainability, nurturing and consumption, through both a personal and political lens — aiming to elicit a visceral and discursive response. Jo Shane has shown widely nationally and internationally, including a recent solo exhibition at 11 W 30th Projects in New York, and group exhibitions at Milk Gallery and BHQFU in New York, Franklin Parrasch Gallery New York, The Pera Museum in Istanbul, The Centro de Arte de Sevilla in Sevilla, Spain, and White Columns in New York.
Branden’s works are conglomerates of materials that hold a multitude of prior functions and identities. Through a process of collecting, dismembering, and hand-sewing, his pieces emerge into large-scale graphic textile collages. Branden’s homes, including his current environment in New York City, and his childhood home in Northeast Ohio, greatly impact the aesthetics and sensitivities present in his works. Sam Branden holds a BFA from The Columbus College of Art & Design, and has exhibited nationally, including a solo show at Quality Gallery in Oakland, and shows at No Place Gallery in Columbus, and Space Heater Gallery in New York, Scott Charmin Gallery in Houston, among others.
PAST SHOW: THREE TIMES IN A ROW
CAMERON GRANGER / CHERYL POPE / ELLIOT PURSE / CAMERON WELCH
Saturday April 28th through early July 2018
Three Times in a Row is an exhibition of artists whose work centers around aspects of underrepresented youth. The works on view hint at memorabilia, and the capitalized appropriation of the creation and content that originate in these youths’ communities. Each artist points at the dangers of misunderstanding this reality. At this pressing time, we are reminded of the urgency of American gun violence, and how many young lives have been stolen or unfairly changed. Through their various media, artists Cameron Granger, Cheryl Pope, Elliot Purse, and Cameron Welch make respective bridges across this gulf of what has been taken. Their work marks this conversation — which must maintain a central space in a united youth culture.
There will be a pre-opening discussion amongst the artists, and Rodney Lucas - the host of the short VICE documentary ‘The Children Treating Gunshot Wounds on Chicago’s South Side.’ This documentary follows UJIMAA MEDICS, the teachers, the students, and their mission.
UJIMAA MEDICS is a group of Black community members (teenagers, medical care workers, activists, pastors, professionals) in Chicago who offer training in emergency first response medicine, as well as crisis management, to people who live in the neighborhoods where shootings often occur.
In honor of the young people who are spreading this vital and life-saving information, the opening and closing of this exhibition will serve as a fundraiser for UJIMAA MEDICS. 25% of bar sales will be donated.
Additionally, throughout the exhibition, a series of signed artist posters are available for sale. The posters are on view in tangent with the exhibition. Each poster is $25, and the proceeds go to UJIMAA MEDICS.
*The title 'Three Times in a Row' is taken from the peom 'Instructions for Stopping' by Dana Levin.
BEVERLY'S at The Material Art Fair in Mexico City
February 8-11, 2018 Frontón Mexico, Mexico DF
with work by: Azikiwe Mohammed, Stina Puotinen, Anthony Angleró, Sean Fader, Aya Rodriguez-Izumi, Alva Calymayor, Mark Pieterson, Leah Dixon, Katherine Aungier, Siebren Versteeg - with performances by Sean Fader and #wishingpelt, Betty, Danny Castaneda
BEVERLY'S celebrates Five Years of Good Weather in North Little Rock, AR on December 2nd, 2017
In collaboration with our friends at Good Weather in North Little Rock, Arkansas - BEVERLY'S is programming an installation and party featuring artworks by COLIN TOM and ROSE NESTLER, with a DJ set by ARIELE MAX.
On December 2nd, 2017 Good Weather will be presenting its final show in its current space, before solidifying plans for a permanent space that will serve as an institutional cornerstone of the Little Rock arts community. BEVERLY'S is honored to be co-hosting this event with Good Weather, and we look forward to their very exciting future.
BEVERLY'S PAST ARTISTS EXHIBITED:
Natalie baxter / Rose Nestler / Franklin Cain-borgers / samuel chun / Carrick Bell / Michael Ruglio-misurell / drea cofield / mark joshua-epstein / mark pieterson / aya rodriguez-izumi / anthony angleró / sean fader / Pamela council / Andrew jilka / CARRIE ELSTON TUNICK / ELISE MCMAHON / cecilia salama / corey riddell / scott goodman / Philip Ashley / Alva calymayor / Elizabeth Ferry / chris domenick / Josep Maynou / Stina Puotinen / Alison Kuo / Azikiwe Mohammed / Ben Dowell / Martin Roth / Alan Gutierrez / Pik-Shuen Fung / Roarke Menzies / Juliana Cerquiera-Leite / Jennifer McDermott / Laura Miller / Susannah Dotson / Alana Lake / Jayson Musson / Phoebe Berglund / Jonathan Durham / Arjun Srivatsa / Sophie Parker / John Szlasa / Hein Koh / Fredman Barahona / Marvin Touré / Santiago Taccetti / Natalie Häusler / Christopher Rivera / Steve Mykietyn / Chris Held / Roxanne Jackson / Graham Hamilton / Greem Jellyfish / Ann Greene Kelly / Aakash Nibalani / Andrew Ross / Esther Ruiz / Jesse Stead / Lauren Elizabeth Panichelli / Lex Brown / Leah Dixon / Stephen McClintock / Colin Tom / Cameron Welch / Dan Conway / Chris Herity / Edward Salas / Alex Rapine / Alex Kellogg / Zach Bruder / Sharona Eliassaf / Scott Indrisek / Emily Weiner / Christopher Martino / Dani Zorzy / Irena Jurek / Natalie Colette Wood / Visakh Menon / Jesse Greenberg / Andrea McGinty / Ash Ferlito / Alejandro Guzman / Amy Ruhl / Matt Taber / Michael Assiff / Zachary Fabri / Dolly Faibyshev / Loney Abrams / Jonathan Stanish / Katherine Aungier / Nicholas Moenich / Simon Chung / Cristina Tufiño / Ben Pederson / Artie Vierkant / Josh Citarella / Robin Cameron / Alli Miller / Emet Sosna / Tyrome Tripoli / Marlous Borm / Benjamin Phelan / Christian Sampson / Theodore Sefcik / Siebren Versteeg / Barnett Cohen / Christian Lord / Daniel Feinberg / Hugo Montoya / PJ Rountree / Misael Soto / Amanda Wong / CJ Brazelton / Alta Buden / Erin Jones / Seldon Yuan / Zach Malfa-Kowalski / Em Rooney / Trish Tillman / Clare Torina / Nat Ward / Williamson Brasfield
SWEETY'S / GOOD WEATHER GALLERY / THE BROOKLYN ACADEMY OF MUSIC / CHEIM AND READ GALLERY / ARTSY BERLIN / ARTSY NEW YORK / NIKE SKATE / ACUD MACHT NEU BERLIN / THE MATERIAL ART FAIR, MEXICO CITY / THE UNTITLED ART FAIR, MIAMI / LISA COOLEY GALLERY / SIGNAL GALLERY / 247365 GALLERY / MIAMI PRACTICAS GALLERY, BOGOTA COLOMBIA / ARTSPACE / THE MIAMI RAIL / BRIDGET DONAHUE GALLERY / THE SOCK HOP NEW YORK / THE SKOWHEGAN SCHOOL OF PAINTING AND SCULPTURE / THE SCHOOL OF VISUAL ARTS MFA PROGRAM / SSCY NEW YORK / THE HESTER STREET FAIR / BRUCE HIGH QUALITY FOUNDATION U / and so many more...
ARTSPACE, 'Co-Founder Leah Dixon on Making Beverly's a Safe Space for the Art World' Loney Abrams, March 2017
The New Yorker, 'Electro Sets and Well-Curated Art' Nicholas Niarchos, December 2016