23 March - 29 April 2018
Anna Kaplan Contemporary (formerly BT&C Gallery) announces Deviating Lines, a show that brings together the work of artists Lyn Carter and Pam Glick. Deviating Lines opens Friday, March 23rd with a reception 6-9 pm. There will be a closing reception and artist talk at the gallery on Sunday, April 29th at 2pm. The exhibition will run through April 29th. Spring gallery hours (please note these are updated hours) are Saturdays 12-4pm or by appointment (716-604-6183).
Deviating Lines explores the gesture of the line in Pam Glick’s most recent geometric abstractions, painted and drawn on canvas and cardboard and Lyn Carter’s fabric-based sculptural works. In both Carter and Glick’s included work, the line is the protagonist. Glick’s gestural paintings on canvas explore the expressive potential of the line, while her works on cardboard exploit the found geometry inherent in the medium itself. Carter’s line is one step removed from her direct hand, as she prints custom fabric from her ink and charcoal drawings and then gives the fabric form through her sculptural practice. Though abstractions, these lines are in no way arbitrary.
Central to the show is a new series of paintings by Glick titled Why Do Girls Love Horses? In these paintings, Glick’s mark-making breaks free from the grid which always lingered in the background of her “Niagara” series; these new marks are liberated and independent. This series, in a recently streamlined palette, presents ribbons of bold color that dip and dive, twist and turn, sometimes reminiscent of Brice Marden’s mature line, though more numerous and with emotion evocative of Joan Mitchell’s gestural brush strokes.
In Carter’s work, the line is a stripe—a repeated element fundamental to the textile medium. The line is neither straight edged or linear, but through Carter’s manipulation is elastic, organic and sculptural. Envisioned especially for this installation, is the piece titled Vertical Draw, a nine-foot high rectangular column of fabric printed with Carter’s incessant marks— a dense forest of lines-—suspended from the ceiling. Peter Legris, in his essay for Carter’s solo exhibition The 11th Line, explains Carter’s recent work:
The exactitude of Lyn Carter’s assemblies and the repetition of her linear patterns place her works alongside the serial and modular constructions of artists such as the American Sol LeWitt or Britain’s Richard Long, and yet also ally her works to domains such as clothing and haute couture. Carter’s sculpture thus occupies a subtle and complex position among categories of art, craft, and design, between so-called women’s (or men’s) work, and between the preciousness of original “creation” and the ubiquity of the mass-produced. Carter’s works are rigorous in their formal and optical properties, and yet they embody a playful, even mischievous aspect in their allusions to the body and to undergarments, and in their disposition to disclosure, concealment, even mystery.
ABOUT THE ARTISTS
LYN CARTER holds an AOCA from the Ontario College of Art and an MFA from York University. Carter has exhibited across Canada, the U.S.A., Australia, Britain, Spain, Mexico and China. In 2008 she was commissioned to create a major site-specific work for the Third Guangzhou Triennial in Guangzhou, China. Most recently she was invited to exhibit in the Hangzhou Triennial of Fiber Art 2016, Zhejiang Art Museum, Hangzhou, China. Carter’s major solo exhibition, The 11th Line, curated by Textile Museum of Canada Chief Curator Sarah Quinton is currently on view at Musée d’art de Joliette, Quebec. Carter’s work is included in many public and private collections, including the Albright-Knox Art Gallery; Cambridge Gallery, Cambridge, Ontario; Sheridan College, Oakville, Ontario; AstraZeneca Collection, Mississauga, Ontario; Peel Art Gallery, Museum and Archives; Dalhousie Art Gallery, Halifax, Nova Scotia; Gallerie Expression, Saint-Hyacinthe, Quebec. Carter teaches sculpture in the Art & Art History Program, a joint program between Sheridan College and the University of Toronto Mississauga. Carter lives and works near Grand Valley, Ontario.
PAM GLICK was formally trained at the Rhode Island School of Design where she received a BA in painting. Glick was widely exhibited during the 1980s and 1990s, most notably in New York City with solo shows at Ramnerine Gallery (Long Island City), White Columns and Wolff Gallery as well as a solo show at Michael Kohn Gallery in Los Angeles. Locally, Glick was a part of the In Western New York exhibition at the Albright-Knox in 1981— the artist’s very first formal exhibition opportunity. Glick was recently included in the Hallwalls 2015/16 exhibition series, Amid/In Western New York. Glick’s work has also been included in important group shows alongside works by artists such as Jean Michele Basquiat, George Condo and Christopher Wool and in 2016 Glick had a solo exhibition at White Columns, NY. Glick’s work is a part of many collections, both public and private, including the Albright-Knox Art Gallery, Burchfield Penney Art Center, M&T Bank, Eli Broad Foundation and Citi Bank. This past year, Glick was nominated for both a Joan Mitchell Foundation Painters & Sculptors Grant and a Louis Comfort Tiffany Foundation Grant. Glick has been included in several Anna Kaplan Contemporary (formerly BT&C Gallery) shows including two solo shows.