Now on View / Upcoming

Current + Past Exhibitions

18 May - 10 June 2017

Jack Drummer: Stitch

exhibited as BT&C Gallery

STITCH is an exhibition focusing on Jack Drummer’s mammoth black rubber canvases. This body of work represents the very last created by the artist before his death in 2013. Comprised of slick black rubber stretched across a frame, these pieces are characterized by stitched elements puncturing the surface and applied elements such as gravel and wax, which interrupt the expanse of matte darkness with a complex texture. The scale of these works envelops the viewer who is dwarfed by these stunning abstractions that take on the appearance of beautifully foreign landscapes. The works included in STITCH have never before been exhibited.

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13 April - 13 May 2017

Claire Ashley: Brave New Points and Planes

exhibited as BT&C Gallery

Brave New Points and Planes is a meant to be a compliment to an exhibition recently on view at the University at Buffalo’s Anderson Gallery titled Claire Ashley: Loathsome Beauty Loaded Body. That exhibition focused on Ashley’s large-scale inflatable sculpture. Brave New Points and Planes turns the focus onto Ashley’s more intimate work— mainly small cast plaster sculpture and works on paper. These sculptural explorations of color and form share aesthetic and conceptual concerns with Ashley’s more monumental inflatables, which the artist considers as a largely feminist critique of the contemporary art world. She explains, “I use humor, acidic color, obnoxious scale, and absurd pop-culture references to challenge art historical precedence and current art world power dynamics.”

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24 February - 1 April 2017

The Myth of Perfection: Alexandra P. Spaulding & Amanda Wachob

exhibited as BT&C Gallery

Artists Alexandra P. Spaulding and Amanda Wachob both create conceptual work using non-traditional media. Presented in The Myth of Perfection are extremely personal work by both artists— work which is not immediately perceived as autobiographical. Included are wall-hung sculpture constructed with neon and mirrors by Spaulding paired with a video piece and two-dimensional work (prints on fabric and paper) by Wachob.

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Current + Past Exhibitions

4 May - 16 June 2018

Rebecca Allan: Debris Fields

The Debris Fields is a series of abstract paintings, drawings and photographs by Rebecca Allan that examine the sprawling detritus at the edges of urban, suburban, and rural America. Inspired by Charles Burchfield’s images of decaying infrastructure, among other sources, Allan focuses on the dispersed heaps of material at construction sites and mining sites, in orchards and gardens, and along waterways. From her studio overlooking the Harlem River in The Bronx to her hometown of Buffalo, Allan probes the spaces around us that could be permanently despoiled or restored by our own efforts, in concert with the persistent rejuvenation of nature.

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23 March - 29 April 2018

DEVIATING LINES: Lyn Carter, Pam Glick

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.

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10 February - 17 March 2018

Susan Reedy: Urban Passage

Anna Kaplan Contemporary (formerly BT&C Gallery) announces Urban Passage, a solo exhibition of new work by Susan Reedy. The focus of Urban Passage is Reedy’s mixed media works on canvas that lie at the intersection of painting, drawing, and collage. Reedy’s practice is process oriented, involving many layers of material and visual information. The result is a complex surface with many subtleties that reveals itself over time. Reedy sources collage materials from vintage ephemera— posters, fliers, segments of dictionaries, musical scores, magazines, newspapers— which are then used in combination with acrylic paint and various drawing media. She carefully selects her vintage materials in a process she compares to an “archeological dig” at flea markets, used bookstores, and estate sales and explains, “I have an inherent attraction to the look and feel of source material that has a sense of history to it, particularly things that are perceived as being imperfect. Papers and books that are torn, marked on, held together with string or tape, anything that shows that this object has had a history and a life of its own as it is passed from one hand to another is of interest to me.”

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