KNOCK KNOCK GALLERY

Sarah Elliott presents:
Elastic strategies for making vertical moves on a horizontal trajectory and horizontal moves on a vertical trajectory

December 4th, 6-10pm.

Elastic strategies for making vertical moves on a horizontal trajectory and horizontal moves on a vertical trajectory

“Perhaps the immobility of the things that surround us is forced upon them by our conviction that they are themselves, and not anything else, and by the immobility of our conceptions of them. “
Marcel Proust, Swann’s Way

“Time flies like an arrow. Fruit flies like a banana.”
Groucho Marx

Elastic strategies for making vertical moves on a horizontal trajectory and horizontal moves on a vertical trajectory is a model for discourse.

Elastic strategies for making vertical moves on a horizontal trajectory and horizontal moves on a vertical trajectory is also an event and the resulting exhibition at Knock Knock Gallery. This event will take place on on the evening of December 4th, 2009 and will include the reworking/rearranging/remaking of an installation over the course of that evening.

The installation is a collection of things arrived at through considering stairways, landings, living rooms and entrance ways, which Knock Knock Gallery is made up of.

Finally! Sorry it took me so long to get these up!

CLICK HERE

to view documentation of Tim Ridlen’s “I Don’t Want Rude Boy Clash Film.”

CLICK HERE

to view documentation of Jamilee Polson’s “See More Glass: The End As The Beginning.”

Thanks and all our best to Lauren Hansen!

http://bylaurenhansen.com/

http://www.insider-chicago.com

September 19th – October 3rd

Opening Reception: September 19th, 6pm to 10pm.

See More Glass: The End As The Beginning is the footing for a larger body of work that can be described as an abstracted organizational structure for the visual components of language and passage. Focusing specifically on metaphors and imagery surrounding the confounded Seymour Glass, the eldest sibling of the J.D. Salinger’s infamous Glass Family, this installation is an assemblage of texts, drawings, and prints on paper. Employing color and shape, a diagrammatic representation features both character and setting development to emphasize the importance of not only reading, but seeing through the lines.

AUGUST 29TH TO SEPTEMBER 12TH

OPENING RECEPTION AUGUST 29TH 6-10 PM; PERFORMANCE AT 7PM.

All That Rises
Erin Gigl & Meghan Dowd

All That Rises explores the precarious state of inter-personal relationships. Domesticity breeds the habit of consumption and manufactures roles that we that then take on as “identity”. Erin Gigl and Meghan Dowd have created work that is meant to confront this ever-changing presentation of ourselves according to outside expectation and acceptance.

This Friday we will be having a closing reception/party for Michael Hunter and Paul Cowan’s At Them Not Through Them.

Starts at 6, goes till 10.

It is a great show, if you haven’t had a chance to have a look, come by and do so!

-xoxo, Harley.

Check it out!

http://www.artinamericamagazine.com/news-opinion/finer-things/2009-06-18/do-it-yourself-/

Thanks Tova!

AT THEM NOT THROUGH THEM
New Work by Michael Hunter / Paul Cowan

July 25 through August 8th

Opening Reception: July 25, 2009 – 6-10 PM
Knock Knock Gallery, Chicago IL

“A novice painter asked his teacher, “When should I consider my painting finished?” And the teacher answered, “When you can look at it in amazement and say to yourself ‘I’m the one who did that!’ “  – Sartre

“I think a poor life is lived by any one who doesn’t regularly take time out to stand and gaze, or sit and listen, or touch, or smell, or brood, without any further end in mind, simply for the satisfaction gotten from that which is gazed at, listened to, touched, smelled, or brooded upon.”  – Clement Greenberg

How does one successfully create something? And when does this ’success’ reach it’s explanation, having become un-stimulating, boring, or vague.  Here we use painting as a device, a gesture. This gesture results in an object that is product of the duration or end of a specific process.  It exists as a tool to instigate interest rather than to explain.  Here, to reduce the object to an explanation, limits it’s potential to stimulate the viewer on alternate planes.

We seem to assume the roles of the painter, allowing our work to exist within the context of painting, concerned with ideas of abstraction and representation, surface and application, and working in, on, or within the picture plane.  Our work is highly aware of its role as a two dimensional object, interested in maintaining an integrity to this plane. We choose to not work in, but rather on and within this plane, ultimately allowing the medium to exist ‘in’ as well.  We construct and appropriate color and not values, simple application and not form, compositional tactics concerned with the pictures edge and not perspectives within. Understanding this ‘flatness’ we have created is what will create the aesthetic successes and joys in our work.  Appropriating and addressing materials, devices, ideas, and tactics commonly used, these tropes allow the work to be enjoyed without constraints, using their familiarity as a way of entry. There is no looking through any of these works, only at them.