COREY DANIELS GALLERY

2011-12-02T12:02:00.000-08:00

JL Yurgess

Corey Daniels

Shoshannah White

Art /// Antiques

Visit coreydanielsgallery.com

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Email: coreydanielsgallery@gmail.com

Saturday temp 60° /// Wells ME

2011-11-26T10:12:00.000-08:00

see more of our collection

Visit coreydanielsgallery.com

Updated Page /// Faces

2011-10-22T11:37:00.000-07:00

View more images ///

We've added a new page:

2011-10-13T08:32:00.000-07:00

Art and Objects at Corey Daniels Gallery

Urali : Bronze South Indian cooking vessel

To view more go to Art and Objects at Corey Daniels Gallery

Tom Gaines /// Paul Oberst /// Closing Sat Sept 17th

2011-09-14T12:47:00.000-07:00

Tom Gaines: Rock Series

Paul Oberst: Ceremonial Objects

Tom Gaines & Paul Oberst: installation photos /// Opening Aug 20 5-9

2011-08-19T10:26:00.000-07:00

Paul Oberst & Tom Gaines /// Opening August 20, 5-9pm

2011-07-30T13:22:00.000-07:00

Paul Oberst's "Ephemeral Posts" 7.20.11

2011-07-20T11:03:00.000-07:00

"I have decided to title the piece Ephemeral Posts for a couple of reasons....in a sense they are a sketch for an idea to be done formally in extruded aluminum....and a sketch is by nature ephemeral. Secondly the pieces are delicate in terms of the painted surface...but bold posts. Thirdly I like the play of Post Road. And then there is the connection to correspondence....in a sense letters of the heart...which are by nature ephemeral posts."

-Paul Oberst

to mark anon : Opening Reception

2011-07-13T12:57:00.000-07:00

to mark anon /// Opening July 9, 5-9pm

2011-07-01T08:27:00.000-07:00

Tidal Culture: Part IV (Iceland), 2009 // extended screening

2011-06-25T12:01:00.000-07:00

Tidal Culture: Part IV (Iceland), 2009 : deborah wing-sproul

extended screening /// through Tuesday, July 5th

COREY DANIELS GALLERY will extend the screening of Deborah Wing-Sproul's "Tidal Culture: Part IV (Iceland)" through Tuesday, July 5th.

"Performance and ephemeral objects suggest elements of time and impermanence. In my work I use these elements as metaphors for the vulnerable, temporal nature of the collective human experience. In Tidal Culture I'm interested in using aspects of time and impermanence to address and reflect upon current conditions of the world as well as the relationships between and among cultures."
-deborah wing-sproul

Tidal Culture : An Introduction

2011-06-23T08:39:00.000-07:00

Performance and ephemeral objects suggest elements of time and impermanence. In my work I use these elements as metaphors for the vulnerable, temporal nature of the collective human experience. In Tidal Culture, I’m interested in using aspects of time and impermanence to address and reflect upon current conditions of the world as well as the relationships between and among cultures.

Tidal Culture is a long-term nomadic work (2004- ) using the Atlantic Ocean as a focal point and primary resource. Part I begins on the shorelines of Maine. The work continues in several countries bordering the North Atlantic Ocean: Newfoundland, Greenland, Iceland, and the Hebrides. These sites, because of their proximity to the arctic ice cap, have become grounds for observing climate change. I’m drawn to these landscapes for their character— sometimes austere, sometimes lush, often connoting isolation.

There are two primary components to this work: "performance" and object making. In the performative work I use video to document very still sittings. (More specifically, I am relatively still while the ocean remains active.) My back is turned to the camera or viewer while facing the water. The act of sitting at a shoreline, observing the ocean may seem unremarkable. I'm concerned with what is not readily visible; what takes place over time; and how states of mind, like conditions of the earth, require time to experience, observe and understand. Each site is documented with similar sittings, which are recorded in real time and then exhibited using single-channel video projections. All of the videos are one hour long with no edit cuts. My particular “positions” on the edge of the world are intended to question personal perspective and to invite dialogues between one place and another.

The other significant aspect of this itinerant work is the material evidence of these sites. Considering the contemporary preoccupation with borders and border control, I’m interested in using the ocean and algae as metaphor and investigatory tool for asking questions pertaining to identity, influence and isolation. Seaweed, which does not honor human-established boundaries, is my primary medium both for making what the nomadic existence requires (food, clothing, utensils) and also as a means of referencing the ways in which cultures influence one another.

Aside from the video and photographic documents much of the work resulting from my visitations will eventually disintegrate. What may remain is a memory of a place, a practice, a sense of purpose and connection.

-deborah wing-sproul
http://www.deborahwingsproul.com/

Accumulated Gestures / / deborah wing-sproul / / Video Screening

2011-06-16T08:52:00.000-07:00

www.deborahwingsproul.com

Our website is up!

2011-06-02T12:56:00.000-07:00

Coreydanielsgallery.com is up and running. Read more about our artists and take a peek at our collection there. You can also sign up for our mailing list and find news about upcoming exhibits and events. Check out the Gallery page to find a photo of our space before the slate paint job...

We'll still be updating here regularly, so don't be a stranger.

Review of TROPOS in the Portland Phoenix

2011-06-01T13:46:00.000-07:00

Solid engagement

By NICHOLAS SCHROEDER

One of the joys of a Maine summer is discovering great shows in unlikely places. Seek the Corey Daniels Gallery, nestled in a row of antique parlors and boutique galleries along the seacoast, and you'll find just that in "Tropos," an exhibition of two young Maine artists engaged in a thoughtful and arresting artistic dialogue. The exhibition finds Sean O'Brien and Alisha Gould (in a show curated by former Phoenix art scribe Annie Larmon) confronting an array of complex interpretive concepts, including the act of becoming, states of liminality and rupture, and, well, Hairy Balls.

But for all the heavy lifting going on in "Tropos," one of the most present concepts, ironically enough, is emptiness. In nearly every instance, the artists' works are bound by a pervasive absence, and one of the many pleasures of the exhibit is observing the avenue — either conceptual or process-based — by which absence finds its way in.

The element of absence is obvious in the four 20" x 24" Polaroid prints of Sean O'Brien's "Still : Life" series, and the photographs are the most immediate works in the room. The subject of each is a rose, its petals shattered by a foreign mass into disarticulate confetti. Reaping the benefits of a rare bird in analog photography (the Polaroid 20x24 camera O'Brien used is one of only six left in existence), the artist engineered his shot by freezing the flowers so that the petals calcify, then setting the camera to capture the precise moment a pellet gun runs them through. With the trifecta of drama, symbolism, and a nostalgic medium, you might find "Still : Life" elicits an emotional response, which in the field of contemporary high art, can be as rare as a four-leaf clover.

Flexing some impressive interrelational muscle, O'Brien's other works marry absence with the concept of light as a function of externality, giving the act of experiencing "Tropos" a nifty sense of interactivity. The three wooden boxes of "Rainbow's End I-III" are closed on all sides except one, where collages of mica are made vividly incandescent through the use of a polarizing filter. O'Brien expertly elides the work of the three boxes into "Rainbow's End — Three Dimension," an enormous, skinless geodesic dome (constructed from PVC pipes, LED lights, and a plane of retroreflective glass beads) that simulates the interior of the mica boxes.

In a nice curatorial touch, the open negative space of "Rainbow's End — Three Dimensions" neatly complements "Stratus," the room's other great presence. "Stratus" is a series of four meticulously woven lattice forms created and hung by Alicia Gould, whose studies in absent space have drawn high praise in the this year's Portland Museum of Art Biennial and last year's MFA thesis exhibition at MECA. Here, she succeeds once again in dramatically transforming a room. Her enormous netted forms are diaphanous and precious, delicately marking the empty space in the room's core. They do it so well, in fact, that after the viewer spends some time in the gallery, they create almost an opposite effect, hovering ominously as a sort of impasse or division line.Similarly minimalistic and repetitious, the subjects of Gould's "Topologies" series might serve as 2D cousins to the reticulate forms of "Stratus." These large, relatively simple pencil drawings are Gould's studies on the Hairy Ball Theorem, a geometric principle stating the impossibility of combing flat the hair on a sphere (there will always be either a cowlick and a void or two vortices at the poles). The rule does not apply, however, on the torus, which among other shapes Gould renders here in finely etched follicles and multiple spatial iterations.

Gould's finest work is the "Parallax" series, six framed paper pieces in which the artist has made clusters of perforations (enacted from the non-visible side) and connected the holes with graphite marks. Like a form of shadowplay, planes of gold leaf are applied around the perforations; the effect is both restrained and gorgeous. The detail of "Parallax" demands close inspection, and Gould's pun on the term's definition of irreconcilable light is brilliant. The series's rich, almost bacterial detail gives it the effect of being teeming with life, a fitting way to end an exhibition that began, let's not forget, with the systematic execution of flowers.

Nicholas Schroeder can be reached at nschroeder@phx.com.

Link to article here

One Night Video Screening and Artist Talk: deborah wing-sproul

2011-06-01T08:00:00.000-07:00

2011-05-28T13:04:00.000-07:00

TROPOS Opening /// May 13

2011-05-18T09:05:00.000-07:00

photos by Alisha Gould

SPACE

2011-05-10T13:35:00.000-07:00

TROPOS /// Opening Friday May 13, 5-8pm

2011-04-28T12:12:00.000-07:00

TROPOS : Alisha Gould & Sean O'Brien

2011-04-27T08:00:00.000-07:00

2011-04-18T10:30:00.000-07:00

THE GORSEDD

Saturday • April 23rd • 6:30pm - 9pm

Limited Seating • $35
Reservations for dinner + show: 207-646-5301

A culinary incident is an art occurrence that immerses an audience into a parallel world. A combination of elements borrowed from theater, installation, music, and storytelling engages the audience in a holistic experience. What could be an ethereal or abstract program is grounded in community, using local produce, supplies, artists, and ideas whenever possible. The sum owes tribute to its components but subtly tweaks each of them and recombines them into an irreducible blend of art, food, and theatre.

2011-03-29T10:50:00.000-07:00

We're getting very excited for a Jacob Galle double feature on Thursday, April 7 · 6:00pm - 8:00pm

A Q+A with the artist will follow the screening.

ice cutting [4.11.04], 2004

+
untitled [spring fever/pilgrimage], 2008

Jacob Galle investigates contemporary notions of manual work by inventing and performing acts of unnecessary physical labor. He inserts his personal experiences working as a farmer and woodsman into a fine art practice, problematizing the romanticized perception of farming and rural life as being "simple".

Read more about his work here: http://ajacobgalle.com/home.html

Tim Wilson

2011-03-29T10:33:00.000-07:00

http://sirtimmy.com/

Neal Beckerman

2011-03-15T12:14:00.000-07:00

One Night Video Screening: Jacob Galle

2011-03-14T13:36:00.000-07:00

Melissa Turner

2011-03-03T11:19:00.000-08:00

Doug Meyer

2011-02-22T12:33:00.000-08:00

Tom Gaines

2011-02-15T11:31:00.001-08:00

2011-02-09T11:10:00.000-08:00

Photos by New York City Photographer Jim Franco

2011-02-09T10:19:00.000-08:00