Gallery co-owner Heather Taylor talks with New American Paintings about artist Submissions…. What’s The Deal?

“What’s the Deal?” aims to provide artists, collectors, and art enthusiasts with an opportunity to hear the opinions and get tips from individuals that help run the art world. We have an amazing network of prominent art dealers and gallerists ready and willing to answer your questions. For this “What’s the Deal?” post, Heather Taylor, Co-Owner of Taylor De Cordoba, answers a question about best practices for an artist’s approach to submit works to a gallery. As always, we encourage you to share your opinion in the comments section.”

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Gallery artist Frohawk Two Feathers is featured on The Daily Candy weekend guide as the hot thing to see in LA.

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Gallery artist Sasha Bezzubov is part of an upcoming exhibition

The series ALBEDO ZONE is comprised of black and white photographs of glacial ice and glacier water. They were made in Alaska, consistent with a scientific system that calculates the degree of reflection of solar energy from the terrain, a technique that is important to the study of climate change. This reflective capacity is termed ‘albedo’. Ice reflects warmth, whereas water absorbes it, a mechanism that strengthens warming effects. Bezzubov made silver gelatin prints, which gives the spaces a delicate beauty.

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Gallery artist Timothy Hull is subject of an article by Ken Miller for Interview Magazine entitled Timothy Hull’s Brooklyn Is In Ruins.

“August is generally the month New Yorkers think about escaping the city to some exotic locale. But what if it turned out that an exotic ruin had appeared along a rugged stretch of downtown Brooklyn real estate? Commissioned by the Brooklyn Academy of Music, The Accelerated Ruin is a monumental sculpture by New York artist Timothy Hull and Future Expansion Architects.”

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Gallery artist Frohawk Two Feathers is the subject of an article by Ana Holguin for The Idler entitled (Re)Inventing The Past.

… “Frohawk Two Feathers’ commentary on authenticity and archives as it forms in this production of false-ish history is complex, revisionary, and playful. Depictions of these people — people important enough to be enunciated through art and whose renderings are then worthy of keeping as historical artifact — are refreshingly colorful, tattooed, and often outfitted in period costume with nods to modern day urban and ethnically marked looks. Men and women sport bandanas and teardrop tats on their brown (Native, Spanish, African, mixed) bodies while holding the poses of the noble people we overwhelmingly have encountered as white in our historical instruction. In creating these characters, he imagines a history in which people of color make the rules, set the fashions, mark the territory, and though it is no less war-mongering than the stories we already know, the insertion of color in this way not only creates a picture of pride and power where we rarely see one (as in a museum setting) but also critiques the level to which white history has been constructed as Truth.”

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LA-based art historian, editor, and writer Ellen C. Caldwell reviews Frohawk Two Feathers’ exhibition at the Museum of Contemporary Art Denver for New American Paintings.

On June 21^st, MCA hosted Frohawk Two Feathers’ (NAP #73) first solo museum show opening. Co-curated by Nora Burnett Abrams and Tricia Robson, Frohawk’s We Buy Gold, We Buy Everything, We Sell Souls, features 20+ paintings on both paper and stretched leather.  The leather sculptures include drums and stretched panels on wood.  And at times, the feaux-aged paper also appears sculptural with its deep divots and contours. – Ellen C. Caldwell, Los Angeles Contributor

With recent gallery shows in Los Angeles, Washington D.C., New York, and South Africa, Frohawk Two Feathers has continued to reveal and recount contiguous installments in his ever-evolving Frenglish saga.  Reimagining history, he plays with historical facts and fictions in retelling an invented past where France and England once united in the 1800s.  Often an oppositional combination of humor, violence, and solemnity, his work easily draws audiences in. Complex and layered, his work, at times, is hard to follow chronologically and logically (if one’s mind works in a strictly linear fashion).  This confusion can arise because his stories and saga installments time-travel and geographically-travel between exhibitions and cities, taking tumultuous turns throughout intricately recrafted and recast historical battles.

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Peter Frank reviews Charlene Liu for the Huffington Post.

Charlene works with handmade paper, frequently lacing it with pigmented pulp. She fashions her deliciously textured material into interwoven arabesques, quavering grids, and, often enough, stylized flowers and other referential motifs. The motifs are as referential to decorative tropes – not least those of Liu’s native Taiwan – as they are to actual flora. Liu’s approach, in fact, collapses several art-historical phenomena, from Art Nouveau to the handmade-paper and handmade-book movements of the 1970s. Rather than seeming coy and dated, however, these buoyant, cleverly composed and sweetly hued confabulations generate a refreshing busyness, a summery kind of energy.
– Peter Frank

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